Prometheus unbound : a lyrical drama

<*•*

PERCY BYSSHE SHELLEY.

From The Californian Illustrated Magazine.

Ibeatb's Englisb Classics

PROMETHEUS UNBOUND

A Lyrical Drama

PERCY BYSSHE SHELLEY

EDITED BY

VIDA D. SCUDDER, M.A.

BOSTON, U.S.A.

.

PUBLISHED BY D. C. HEATH & CO.
1906

COPYRIGHT, 1892,
BY VIDA D. SCUDDER.

PREFACE.

No student's edition exists of the Prometheus Unbound,
the greatest work of Shelley. Because of its length, abstruse-
ness, and difficulty, the drama has been little used in the
classroom : and, indeed, while its aesthetic glory has been
fully recognized, its spiritual and historical significance has
till lately been often ignored, even by lovers of Shelley. Yet
the Prometheus Unbound gives perhaps the most perfect
expression anywhere to be found of the thought and passion
of a great period of English poetry. It fully initiates the
earnest student into the ideals of the Revolution — those
ideals which, in their development, are determining the trend
of our modern life. There is no need to speak of the imagi-
native fervor and pure lyricism of the drama : few English
poems can be more effective to quicken and train aesthetic
sensitiveness. So far as difficulty is concerned, the student
who can understand the Faery Queene can understand the
Prometheus Unbound.

It is hoped that the present edition may make the poem
more widely known to the general reader, and more available
for purposes of the classroom. The aim has been to supply

iii

2056176

iv PREFACE.

a good critical apparatus for the study of the drama as a
work of art and as an historic product. To this end, the
Introduction discusses the different aspects of the drama,
and the Notes deal largely with suggestions for comparative
study and with extracts from the best criticisms on the poem.
Mythological and historic allusions to be found in ordinary
reference-books are not explained.

The text followed is that of Forman's edition, except in
two or three instances where a different reading has been
adopted. Such instances are always mentioned in the Notes.

Much help has of course been derived from the critics
and interpreters of Shelley, especially from Todhunter, Ros-
setti, James Thomson, Dowden, and Symonds. For the
"Suggestions towards a Comparison of the Prometheus
Unbound of Shelley with the Prometheus Bound of ^Eschy-
lus," I am indebted to the work of my friend, Miss Lucy H.
Smith, A.B.

VIDA D. SCUDDER.

WELLESLEY COLLEGE,
August, 1892.

CONTENTS.

PREFACE iii

INTRODUCTION :

I. THE DRAMA AND THE TIME ix

II. A STUDY OF THE MYTH xxvii

III. THE DRAMA AS A WORK OF ART .... xlii

SHELLEY'S PREFACE 3

PROMETHEUS UNBOUND 9

SUGGESTIONS TOWARDS A COMPARISON OF PROMETHEUS UN-
BOUND WITH THE PROMETHEUS BOUND OF AESCHYLUS . 121

NOTES 145

EXTRACTS FROM CRITICISMS ON PROMETHEUS UNBOUND . .167
BIBLIOGRAPHY OF PROMETHEUS UNBOUND . . . .171

INTRODUCTION.

INTRODUCTION.

>;<*:<

I.

THE DRAMA AND THE TIME.

SHELLEY'S lyrical drama, the Prometheus Unbound, is
unique in the great cycle of English song. From the larger
part of that song it is distinguished at once by an audacious
idealism. Generalizations are dangerous ; yet we may surely
say that the dominant trend of our sturdy English literature
has been towards realism. In the Middle Ages, English
Chaucer sings with frank and buoyant vigor o/ the fair
green earth beneath him and the men and women at his
side, while Italian Dante penetrates with fervid passion the
spiritual spheres open to mediaeval vision, and brings back
strange messages from the souls of the lost and of the
blessed. The Elizabethan imagination claps a girdle round
the earth, but rarely soars into the heavens. It is the Ger-
man genius, not the English, which expresses the struggle of
the human soul in a shadowy protagonist, embodiment of the
symbolism of the ages, and replaces a Hamlet known to his-
tory by a legendary Faust. The idealism of Milton seems,
beside that of Dante, intellectual and forced. The litera-
ture of the eighteenth century is the transcript of the life e£
society ; Victorian literature is the transcript of the life of the

ix

X PROMETHEUS UNBOUND.

soul. Everywhere our English genius tends to express itself
through forms of experience and of fact.

The early poetry of the nineteenth century is a notable
exception to this principle. The work of Wordsworth and
Coleridge, of Keats and Shelley, is in tone frankly ideal.
The idealism which pervades all the writings of these poets,
from the Ancient Mariner to Hyperion, finds its fullest
and most glorious manifestation in the Prometheus Un-
bound, which is the supreme achievement of Shelley. De-
spite the wondrous nature-poetry of the drama, the whole
action takes place, not on this solid earth of hill and forest,
but in an unknown region which has no existence outside
the soul of man. The personages are vast abstractions, dim
though luminous ; like wraiths of mist in morning sunlight
they drift around us, appearing, vanishing, in mystic sequence.
Over the whole drama plays, though with broken and waver-
ing lustre, the " light that never was on sea or land," and
not once /ioes the "poet's dream" change to the sober
world of waking fact.

Yet to speak of the Prometheus Unbound as the highest
expression of modern English idealism is hardly to justify
our claim that the drama is unique. We find much con-
temporary poetry of the same order, although less great ;
and our English genius is, moreover, too plastic to lack
entirely, at any period, the ideal element. It is in a work
of the sixteenth century that we find the closest parallel to
the Prometheus Unbound. Edmund Spenser, during the
full dominance of Elizabethan realism, is as pure an idealist
as Shelley, and the Faery Queene and the modern drama
are in many ways strangely akin. At a glance, this kinship
is obvious. The two poems belong alike to that highest

INTRODUCTION. XI

order of imaginative work which includes the Book of Job,
Faust, Paracelsus, and claims as its greatest example the
Divine Comedy of Dante. Both poems deal with spiritual
forces, with the eternal conflict of good and evil ; the action
to be wrought out is in both the final redemption of the
soul of man. The Faery Queene, like the Prometheus,
transports us to an unreal world, where forms of visionary
beauty speak to us, not of concrete human life, but of ethical
and spiritual truth. Both poems, in a word, are symbolic.

Yet the more thoughtfully we read, the sooner will a radi-
cal difference between the spirit of the two poems become
manifest, — a difference so great that it will force us to put the
poem of Shelley quite by itself. For the Faery Queene is
an allegory ; the Prometheus Unbound not only deals with
mythological conceptions, it is a genuine myth.

In the Faery Queene, the relation of the forms to the
ideas is the result of the conscious and deliberate invention
of Spenser. Una, says the poet to himself, shall stand for
Truth, Guyon for Temperance, Archimago for Hypocrisy.
The characters, thus laden with double meaning, are made
to pass through various significant adventures. Sometimes
the allegory grows tedious to Spenser, and he drops it from
consciousness, seeing for the time in his creations only
ladies faire and lovely knights, instead of the Christian
virtues ; more often still it grows tedious to the reader, who
gladly forgets all didactic suggestion, to wander dreamily
through an enchanted land. The connection between story
and meaning, not only here but in all allegories, is arbitrary
rather than essential.

No one can read the Prometheus Unbound without fedf-'
ing a different method of conception at work. Asia, lone,

xii PROMETHEUS UNBOUND.

Panthea, Prometheus himself, all the actors in the drama,
are indeed impersonations of abstract qualities, and the
whole action is spiritual in undercurrent, though on the
surface natural. But the connection between natural and
spiritual is no longer arbitrary. There has been no painful
invention, unless in some minor details ; these figures have
flashed upon the inner vision of the poet in perfect unity of
soul and form. Where an allegory is reasoned and labored,
a myth is instinctive and spontaneous. The systematic for-
mality of the allegory is replaced in the myth by something
of the large, divinely simple significance of the very symbol-
ism of nature. An allegory is the result of experience ; a
myth, of intuition.

Now, to speak of the Prometheus Unbound as a myth
seems at first sight to involve a contradiction. It is incon-
sistent with our idea of poetic development ; for the evolu-
tion of the myth is almost entirely confined to the childhood
of races. This is inevitable, since the myth is an uncon-
scious form of art, and unconsciousness belongs to child-
hood. The wide-eyed and reverent wonder of the child sees
in this new world of life and mystery around him spiritual
creations pressing everywhere through the material veil.
His instinctive faith cannot survive the familiarity with
earthly facts, the scientific temper, of maturity. Analysis
has replaced intuition ; wonder is lost in curiosity. —

" There was an awful rainbow full in Heaven :
We know its name and nature; it is given
In the dull catalogue of common things,"

mourns Keats. Thus it is in the infancy of the Aryan race,
in the early days of Hellas, in the vigorous youth of the

INTRODUCTION. xiii

Norsemen, that we find the great myth cycles treasured by
our scholars to-day, — poem-stories, with the dawn-light
fresh upon them. Through our own oldest epic, Beowulf,
even yet flash traces of the myth ; but they soon fade out,
never to reappear, replaced by the frank and sunny natural-
ism of Chaucer, Shakespeare, and Browning.

Never to reappear? Not so. In the early days of our
own century, when the English race had passed through
many a stern experience, when it had gathered much of the
bitter wisdom of maturity into its thought and speech, once
more it was to dream dreams and see visions, and the fairest
of these dreams was to be given to the world through
the poet-soul of Shelley, a genuine and beautiful myth, in
the form of the Prometheus Unbound. Prometheus, Asia,
lone, — their likeness is to be sought, not in a Macbeth, a
Desdemona, or a Pompilia, but in Thetis the silver-footed,
in Perseus, slayer of the Gorgon, in Athene, child of Zeus.
The mystic action of the drama recalls, not the human stir
and passion of our modern tragedy, but the solemn move-
ment of the stories of the elder world. The Prometheus
Unbound is no mere retelling of an ancient tale, like the
Greek poems of William Morris ; it is in all essentials an
original conception. The drama starts, indeed, from the
./Eschylean story, but the development of the action, the
personages, the mode of treatment, are absolutely the poet's
own. Like the tales of gods and heroes in the Homeric
cycle, even more like the treatment of these stories with a
fuller spiritual consciousness in the work of the Greek trage-
dians, are the great imaginings of Shelley.

The age of Pope and the age of Tennyson are both times
of peculiar self-consciousness and elaboration. Between

xiv PROMETHEUS UNBOUND.

these two ages reappears, for one brief moment, the myth.
In the whole history of English song there is no stranger
paradox than this. It challenges our attention at once. If
we wish to understand it, we first turn instinctively to the
great poetry which comes within the same period as the
Prometheus.

The drama was written in 1819; thus it belongs to the
greatest cycle of English song since the Elizabethan age.
Within the years 1590-1630 falls the chief work of Spen-
ser, of the Elizabethan lyrists, of Marlowe, Shakespeare, and
Ben Jonson. Within the years 1790-1830 falls the finest
work of Blake and Burns, of Wordsworth and Coleridge, of
Byron, Keats, and Shelley. We know now that those years
at the beginning of our century were great indeed ; we know
that the poems sung in them hold their own even by the
side of the wonderful poetry of three centuries before. If
we look at the poetic work of the first third of our century
as a whole, we shall be struck by its great variety ; yet we
shall also be struck, in the midst of all the variety, by a cer-
tain all-pervasive unity of tone. It is the tone of youth, of
freshness, of exuberance of life.

The poetry of the eighteenth century was tired. It had
repeated the wisdom of a worldly old age. It laid stress on
etiquette, on custom, on detail ; it submitted to cautious
rules ; and, when not artificially lively, it displayed a sober
and disillusioned strength.. Close now Pope or Thomson,
and open Blake, Burns, Wordsworth. Strange discovery !
Through this poetry, later though it be, the music of an
eternal youth goes ringing. The tone of wonder, of eager-
ness, of fulness of life, either for joy or pain, is the great
quality which distinguishes the outburst of song at the first

INTRODUCTION. XV

of our century from the exhausted verse of the preceding
age. It is impossible to tell all the different manifestations
of this new youthfulness. The very cadence, the outward
form of verse, have cast aside the grave restrictions imposed
by a self-conscious period, and move with the buoyant and
varied grace of adolescence ; the literal child appears for
the first time in Burns and Blake and Wordsworth ; the rest-
less and passionate speculation of youth glances through the
poems of Byron, Coleridge, and Shelley. Finally, the myth-
opceic faculty is by no means confined to the Prometheus
Unbound, though it finds fullest expression there. There
is no evidence of this faculty in the poetry of the eighteenth
century, or of the Victorian age ; but poetry from Blake to
Keats is veined with it. In Blake, indeed, it is dominant,
but fails to reach its full effect, because his imaginings,
though mighty, are broken and obscure. We find clear
traces of the myth in the poems of Coleridge, notably the
Ancient Mariner. Keats is not sensitive to the spiritual
possibilities of the myth, but, so far as aesthetic instinct will
carry him, he has the true myth-creating power; gods,
nymphs, and Titans breathe in living beauty in the pages
of Endymion and Hyperion. To Shelley, as to the an-
cient Greeks, the myth is the expression of worship, and the
mythopceic faculty appears, disciplined, free, and triumphant,
in the Prometheus Unbound.

How shall we explain the bright youthfulness of all this
poetry? We must explain it by studying the historic period
from which it sprang. For poetry strikes its roots deep into
the soil of national life, and it is from the passions and ideals
of history that we must find the inspiration of our poets.
English verse at the beginning of the century is great be-

xvi PROMETHEUS UNBOUND.

cause it is the expression and outcome of a great period.
No sooner do we study the period than the distinctive qual-
ities of the poetry are explained. Its renewed joy and free-
dom are but the expression of the new life that was pulsing
through the veins of the old earth. For this is the great
period of the birth of the modern world.

We may best understand the Prometheus Unbound if
we recognize it as the supreme expression in imaginative
form of the new spirit of democracy. The ideas which in-
spire it first found dynamic power in the Revolution of 1 789.
Thus the significance of our paradox is revealed. For myths
belong to the dawn ; and the beginning of our century wit-
nessed the dawn of a new cosmic day. We may say in sober
reverence that not since the coming of Christ had so vital a
renovating power entered human life as entered it one hun-
dred years ago. It is natural and beautiful that this new
beginning should be heralded by the return of the spirit of
childhood, and that the wondering faith of the time should
once more as in the days of old find expression through con-
crete symbol. At one moment and one only in the evolution
of English song since the time of Beowulf, was possible
the formation of a myth ; and at this moment appeared the
man to create it. Only at the beginning of the nineteenth
century, only by the man Shelley, could the Prometheus
Unbound have been written.

This view of the Prometheus Unbound will, it is true,
be challenged by a whole school of critics. The drama is
woven of dreams, they will tell us ; it is a maze of color and
music, devoid of definite structure. Shall we turn the most
ethereal of poets into a doctrinaire? What relation has
poetry like this, of imagination all compact, to theories of

INTR OD UCTION. xvii

life ? Above all, what relation can it bear to that democracy
which is all around us, practical, blatant, vulgar? The
eternal value of the Prometheus Unbound — thus perhaps
say most of the readers of the drama — lies in its poignant
melody, its exquisite imagery, in the wondrous beauty of
fragments scattered here and there through the poem. These
are immortal. But the intellectual conceptions of Shelley
were simply the accidents of his youth, to be forgotten if
we would read his poetry aright; and for the underlying
thought of the drama, for its unity of structure, for the mean-
ing of Prometheus and Demogorgon and Panthea and the
other shadowy mouth-pieces of matchless verse, not one whit
will the enlightened critic care.

Thus to speak is to deny all scientific conceptions of litera-
ture ; for it is to deny the connection of the poet with his
age. Much, indeed, is crude and weak in the verse of
Shelley ; much is held in his immature intellect, and is never
fused by his imaginative passion into art ; but the very warp
and woof of his noblest poetry is in subtle and secret ways
determined by that faith which aesthetic cynics would teach
us to ignore. Shelley would never have been the greatest
lyric poet of England, would never have written the Ode to
the West Wind nor the choruses to Hellas, had he been an
aristocrat and a conservative. The passion for freedom and
the aspiration towards a universal love sway his thought as
they sway his form.

In order, then, to understand the Prometheus Unbound,
we must look more fully at the place held by England^ and
by Shelley in the evolution of the democratic idea. It was
by France that the idea was first given to the world in deeds,.
— deeds stormy, passionate, marked by the horror of blood-

xviii PROMETHEUS UNBOUND.

shed. France, most impetuous of nations, France, mad-
dened by centuries of oppression, received the trust of work-
ing out the historic revolution. But this was only half of the
work to be accomplished. To express the democratic idea
in brief, historic act was the work of France ; to express it
in eternal art was the work of England. All poetry, says
Wordsworth, is the product of emotion recollected in tran-
quillity. France, absorbed in fierce and exhausting struggle,
could not stop to write poetry ; yet the idea of democracy,
like all really vital ideas, had to find expression in art before
it could become a precious possession forever to the nations.
Here came in the work of England. Her noblest children,
touched to high and tense emotion by the great days in
which they lived, were yet sufficiently remote from the strug-
gle to possess their souls in that serenity which is the neces-
sary condition of all great art. To the poets of England,
from Burns and Blake to Shelley, belongs the glory of having
first given to the democratic idea an embodiment of undying
power.

Very diverse is the influence of the new ideal upon their
work. Wordsworth and Coleridge, the two older poets,
were contemporaries of the historic revolution. In the eager
days of their youth they lived through the swift revolutionary
drama, with its changes from rapturous hope to terror and
despair. Absorbed in the turmoil of the time, there is small
wonder that they were unable to distinguish the absolute from
the local, or that they reacted, in sober middle life, from the
ardor of their democratic faith. The effect of democracy in
the work even of Wordsworth is indirect, although profound,
and shows itself rather by leading the imaginative love of the
poet to the noble life of the simple and the poor than by in-

INTRODUCTION. xix

flaming him with enthusiasm for the grand abstract ideas of
the Revolution. The few poems of both Wordsworth and
Coleridge which treat directly of the new faith are occasional
in theme. We must seek a point of view which affords a
farther perspective, if we desire a vision of the democratic faith
in its fulness, freed from the dominance of incidental detail.

Such a point of view was to be found in the second dec-
ade of our century. Three men, in this decade, hold the
supreme honors of English song : Byron, Keats, and Shel-
ley. Of these, Keats represents the aesthetic reaction from
the passion for humanity which had possessed the soul of the
race for over twenty years. Through his verse sweeps the
fragrance of the world of dreams ; redolent of beauty, it no-
where breathes suggestion of allegiance to a hard-won truth,
nor of feeling for actual human need. Byron, on the other
hand, is distinctly a poet of the Revolution, but of the Rev-
olution mainly on its inferior and destructive side. His
verse rings with rebellion and despair. The historic revolu-
tion had failed : its ardent faith, its glowing hopes, were
despised, during the hollow years of the Empire, by all chil-
dren of the world. A child of the world was Byron ; and
for him and his fellows nothing was left at the heart of life
but the cynical and arrogant individualism which forms the
negative and evil aspect of the democratic idea.

The children of the world had lost courage ; but for the
children of light the glory of the new ideal had never faded.
Hardly affected by the practical failure of the Revolution,
freed from the interference of historic outward detail, the
intellectual and spiritual conception of the young democracy,
shone clear in the cloudless heaven, for whosoever should
behold.

XX PROMETHEUS UNBOUND.

The man to behold it was Shelley. His soul, pure as
crystal, clear as flame, held and fused the vital elements both
of strength and weakness in the democratic ideal. At the
close of the second decade of our century he conceived the
Prometheus Unbound.

The drama is in truth the perfect symbolic reflection of
the conceptions of the new democracy, alike in their
strength and in their weakness. We shall find it vague
where the Revolution was vague, crude where the Revolution
was crude, — that is, in its intellectual philosophy ; we shall
find it great where the revolution was great, — that is, in its
spiritual ideal.

We see how completely the poem expresses the limita-
tions as well as the power inherent in the new democratic
conception when we recall, briefly, Shelley's faith and atti-
tude. Shelley is democrat and communist. His convictions
are frankly, eagerly anarchical. The ruling passion of his
life is the passion for liberty, and liberty to him, as to most
thinkers of the time, means the absence of law. He hates
authority with a deadly hatred ; it is by the overthrow of all
government, civil or religious, that he expects the happiness
of humanity to be attained. This destructive political con-
ception is a simple reproduction of current ideas, or at least
of the ideas of '93. On the ethical side, Shelley's thought
was formed by two amusingly different influences, by Wil-
liam Godwin, his father-in-law, and by Plato. The result
of this curious union was paradoxical enough. With all his
conscious intellect, Shelley clings to the views of Political
Justice, a book written by Godwin which expresses the
coldest radicalism of revolutionary thought ; but with every
higher instinct, he springs to greet the mystic idealism of

INTRODUCTION. XXI

Plato. The crudest and most unimaginative parts of the
Prometheus Unbound reflect the cheap doctrinaire philoso-
phy of Godwin, — a philosophy held in Shelley's mind,
but never in his soul. The easy optimism of Godwin, and
of all revolutionary thinkers, is the phase of their thought
most congenial to Shelley. To the Revolution evil is a pure
accident, an external fact. It inheres in institutions, — how
it got there we are never told, — and when these institutions
shall be shattered, the nature of man, pure, virtuous, loving,
will instantly restore the Age of Gold. This conception
determines the whole form of the myth in the Prometheus
Unbound. Shallow though it seems to-day, it served a
necessary purpose. It roused men from the lethargy of
despair, and inspired them with faith in man's control over
his own destiny. Like the apostolic expectation of the
immediate coming of the Lord, the pathetic revolutionary
optimism gave courage to an infant faith, and made men
loyal to their ideals until the time should come when they
could stand alone. It enabled them, in Shelley's words,

" To hope, till hope creates,
From its oVvn wreck, the thing it contemplates."

There is another point in which Shelley's attitude is one
with that of his time : his scornful rejection of Christianity.
No one can read history without seeing that it was very
difficult, in those days, to be both a democrat and a Chris-
tian. The Church had identified itself, in the Revolution,
with the aristocrats. It had chosen to side with established
evil rather than with reform which disturbed peace. It had
its reward. No one familiar with the respectable worldliness*
of the recognized religion of England during the first of our

xxii PROMETHEUS UNBOUND.

century can wonder that many of the most vivid and relig-
ious minds of the day revolted from Christianity. Shelley,
with characteristic vehemence, revolted to the very extreme.
But Shelley does not only reflect the intellectual attitude
of the Revolution : he is also, and more completely, an ex-
ponent of its spiritual passion. So far as we have yet gone,
we might have taken Byron as well as Shelley for our typical
poet. Byron, too, had the frank antinomianism, the hatred
of Christianity, found in the Revolution, though he lacked its
buoyant optimism. But Byron was untouched by the higher
elements of democratic thought, which exalt the poetry of
Shelley. Through the Prometheus Unbound breathes the
very spirit of the religion of humanity, the passionate sym-
pathy for suffering, the passionate love of man. The power
to conceive vast abstract ideals and to render them dynamic
in human life was a gift of the Revolution, in reaction from
the age of common sense ; and this gift created the drama.
Nor were there lacking in Shelley's poetry or in his life
elements of a yet more spiritual worship. Like the great Jew
Spinoza, he might be described as God-intoxicated. His
reason might deny, but his imagination believed ; and the
imagination was the very centre of Shelley's nature. We
may not perhaps follow Mr. Browning in his interesting
suggestion that had Shelley lived he would have become a
Christian ; but we may, we must, remember the extreme
youth of the poet when he died, and if we would be just,
seek for his faith, not in the verse of crude reaction and
boyish polemic, but in the expression of his moments of
highest insight. Not by Queen Mab but by Epipsychi-
dion and Adonais may we learn the soul of Shelley. His
soul cannot be labelled ; it is too bright and swift and strange

INTRODUCTION. xxiii

for that. But if some name is to suggest the order of nature
to which Shelley belonged, that of Pantheist is the best.
His thought, conditioned here as always by the limits of his
time, lacks completely that reverence for the sacredness of
personality which is the noblest achievement of the century's
later years. Ignoring personality in man, it is no wonder
that Shelley ignores it in God also. But the revolutionary
movement was at heart a spiritual uprising. It marked the
rebellion of the human soul from that mass of custom which,
in a materialized society, lay upon it

" with a weight
Heavy as frost, and deep almost as life."

The new passion for nature as the revelation of a Divine
Spirit, the new faith in love as the law of life, made a relig-
ion far more real than either the deism or the dogmatic
orthodoxy of the eighteenth century. This was the religion
of Shelley. From all materialism, conscious or unconscious,
his soul was severed by a severance sharp as that between
death and life. He sees, in nature, in the human soul, the
" One Spirit's plastic stress " ; and to attain perfect union
with the Soul of All is his supreme desire. He worships,
though he worships he knows not what.

" Within a cavern of man's trackless spirit
Is framed an Image so intensely fair,
That the adventurous thoughts that wander near it
Worship, and as they kneel tremble, and wear
The splendour of its Presence, and the light
Penetrates their dreamlike frame «..'

Till they become charged with the strength of flame."

It is this "strength of flame" which has passed into the'
verse of Shelley. * ,

Xxiv PROMETHEUS UNBOUND.

Such was the nature of the man who was to be the su-
preme exponent of the ideal of the new democracy. The
crude intellectual conceptions of the Revolution enter the
Prometheus Unbound and weaken it; the spiritual sensi-
tiveness and spiritual faith of the Revolution enter it more
vitally, and mould it to an organic whole. The drama is
thus singularly uneven. It forfeits at times all imaginative
power ; yet wherever this power diminishes, its historic sug-
gestiveness may be said to increase. By virtue in part of its
very imperfections, by virtue supremely of the love for hu-
manity, the passion for freedom and the triumphant spirit-
uality which suffuse it, it is the perfect artistic reflection of
all that was most significant in the early aspects of the faith
which has shaped our modern world.

Fitting it is and beautiful that to Shelley, of all the hie-
rarchy of poets then living, should have been given the mis-
sion of perfectly reflecting the dawn of the new cosmic day.
Fair in undying youth, his figure stands before us, its bright
and ardent purity undimmed by the breath of years. Fate
seems at first bitter and cruel when, in his thirtieth year,
the Italian waters which he loved so well close over his
frail bark, and the poet-soul is borne darkly, fearfully, afar
into an unknown land. Yet, though he sings no longer for
the sons of time, he rests, like his own Adonais, " in those
abodes where the Eternal are." Shelley's abrupt and early
death is, we may almost say, the inevitable conclusion of a
life whose work it was to render for us the eager thought, the
ardent faith, of adolescence. The sober and practical tem-
per of middle life, the meditative calm of ao;e, were never to
touch his buoyant spirit. He heralded the sunrise ; and his
task was over when he had sung his hymn of welcome.

INTRODUCTION. XXV

We have said that the Prometheus Unbound is a myth ;
and so it is. Yet its type is widely different from thaj: of
the great stories of the elder world. In our modern days
we cannot expect, we could assuredly not desire, the per-
fect reproduction of an ancient poem. The Prometheus
Unbound is both greater and less than the early dreams
of Hellas. In some ways it is less. Inspired as a rule by
spontaneous insight, it is yet beset now and again by a
clogging self-consciousness, and the poetry sinks into alle-
gory, or, lower yet, into versified didacticism. Moreover,
the drama tantalizes us with an occasional vagueness and
inconsistency foreign to the ancient myth. Yet if in these
ways it is inferior, in others it is instinct with a deeper
power. The past can never be relived. The Prometheus
is truly a poem of youth, but the youth which inspires it is
not that of the first childhood of the race. The world was,
indeed, born anew in those great years at the first of the
century ; but this its new birth was the birth of the Spirit.
The free naturalism, strong, simple, and buoyant, that
breathes through the myths of Greece was fled forever.
The rapture of physical existence is replaced in all our later
poetry by the rapture of a spiritual hope. Grave, with all its
joyous melody, is the music of the Prometheus ; the pain
that sounds through the drama has a deeper note than the
wistful grief of the child ; in the eyes of Prometheus and Asia
is seen the shadow of a suffering world. The ideal towards
which the drama presses is far different from the temperate
uprightness of the Greeks ; it is no less than absolute union
with the spirit of Divine Love. For the time when the Pro-
metheus Unbound is written is the nineteenth Christian cen-
tury, and the vision of holiness has been beheld by the world.

XXVI PROMETHEUS UNBOUND.

The century has grown old since Shelley wrote. The
characteristic utterance of its central and final years has
been that of men. A Rabbi Ben Ezra reviews life in mem-
ory, as a Prometheus looked forward to life in hope. Brown-
ing and Tennyson have reverted to that virile realism which
is the most instinctive expression of our English genius ;
and this realism tends to express itself in practical rather
than in aesthetic forms. That ideal which flashed upon
men of old as a vision, we struggle as a fact to fulfil. For
them were the hours of insight ; for us are the hours of
gloom.

" With aching hands and bleeding feet
We dig and heap, pile stone on stone;
We bear the burden and the heat
Of the long day, and wish 'twere done."

While we wait for the " hours of light " to return, it is well
for us always to remember that what we are striving to
realize already exists as a vision. The dream-images of
superhuman beauty, the ardent abstract enthusiasm, which
we find in Shelley, are in truth the sources and inspiration
of that ^tern democracy which, often in painful forms,
struggles towards a future that we can still but dimly see.
The economic science of to-day and the imaginative passion
of the past are in aim and essence one. We can no longer
console ourselves for unclean tenements by dreams of the
union of Prometheus and Asia ; but we may, in sober, dusty
days of discouraged labor, refresh our spirits and revive our
faith by turning to the glory of the morning, and steeping
our eyes in the vision of an eternal prime.

INTRODUCTION. xxvii

II.
A STUDY OF THE MYTH.

THE student who tries to translate the fleeting symbolism
of the drama into a logical sequence of abstract truths will
be grievously disappointed. Such a translation is impos-
sible. The union of soul and form, meaning and expres-
sion, is too close to be severed. It has to be seized, not by
the analytical reason, but by an intuition akin to that of the
poet. We are tempted to describe the myth in Shelley's
own dazzling words : —

" Child of light ! thy limbs are burning

Through the vest which seems to hide them,

As the radiant lines of morning

Through thin clouds, ere they divide them;

And this atmosphere divinest

Shrouds thee wheresoe'er thou shinest."

To conceal while it reveals is always the characteristic of
the myth. The drama transports us to the very confines
of the world of sense, where material semblance trembles
into spiritual truth ; but the limit is never quite crossed, the
reticence of the image is never forfeited. "As dew-stars
glisten, then fade away," gleams of spiritual meaning Hash
and vanish through the poem. The imagination every-
where suggests what the intellect cannot define.

XXviii PROMETHEUS UNBOUND.

We must acknowledge another reason for the obscurity of
many passages in the Prometheus. The drama is uneven
both in form and thought ; and one is sometimes tempted
to linger in search of hidden depth of meaning, when true
wisdom would recognize a passage as impenetrable simply
because shallow. It is because of this twofold difficulty in
logical interpretation that many, even among the lovers of
Shelley, give up the attempt to trace the evolution of any
theme, and enjoy the drama simply as a succession of shin-
ing pictures and lovely melodies. Yet in reality the drama
is a highly organized whole, conceived with the greatest
, care and with elaborate fulness of meaning. We know, on
Mrs. Shelley's authority, that Shelley wrote every detail of
the poem with distinct intention. His sensitive soul was
attuned not only to harmonies of light and color, but to the
severer music of the experiences of life. Such a nature is
no pioneer in constructive ideas. We do not look in Shelley
for the virile intellectuality, the grasp on practical problems,
of Browning ; but we do seek and find that intuitive reflec-
tion of the vital elements in contemporary life and thought
which is characteristic of the seer.

Now, although in many a detail the meaning of the myth
eludes us, in grand outlines it may be traced. Without try-
ing to translate the poem into a series of moral maxims,
it is quite possible to apprehend something of the broader
relations which its imagery bears to the facts of human life.
Such an apprehension is essential to the best enjoyment of
the drama.

Shelley takes as his starting-point the old story of Prome-
theus, as found in the drama of ^Eschylus. Prometheus the
Titan has stolen fire from heaven to benefit the race of man.

INTRODUCTION. xxix

In punishment Jupiter nails him high on a cliff of Caucasus,
where he hangs, suffering tortures untold. He possesses a
secret which, if revealed, will ward off from Jupiter some un-
known and terrible danger; with this secret he refuses to
part. These broad and simple facts Shelley adopts from the
old Greek myth ; then, with an audacious license born of
the Revolution, he modifies, enlarges, innovates, to suit his
own desires, till the glowing and complex phantasmagoria
of his drama bears likeness slight indeed to the grave and
simple austerity of the ^Eschylean treatment.

When the drama opens, Prometheus, great protagonist of
humanity, hangs on his mount of torture, high above the
outspread world. But he is not alone. Sister-spirits, lone
and Panthea — fair forms with drooping wings — sit watch-
ful at his feet. They may be with him : another presence,
dearer than theirs, is denied. Asia, their great sister, the
beloved of Prometheus, awaits afar in sorrow; and the
bitterest element in the suffering of the Titan is the separa-
tion decreed between himself and her.

This first act may be entitled "The Torture of Prome-
theus." The agony which Jupiter has power to inflict shall
reach its bitter climax here. Prometheus, disciplined by
aeons of silent pain, has attained a new point of develop-
ment. After a grand opening soliloquy, he utters a petition.
At the moment of his capture he has hurled defiance at
Jupiter, his foe, in a terrific curse. This curse he would now
recall. Hatred has left his soul ; even the words of wrath
and contempt he has forgotten. Let them be repeated,
that he may revoke them and thus remain free from* the
taint of revenge. But it is in vain that he entreats all powers
of earth and air to repeat the curse to him. They remember

XXX PROMETHEUS UNBOUND.

it well ; repeat it they dare not ; till at last, from a strange
underworld of shadows, the Phantasm of Jupiter appears,
proud and calm, and pronounces the dread words. Prome-
theus in pity recalls them. Jupiter, from Olympus, cognizant
doubtless of all that passes on the Mount, and thinking the
revocation to betoken relenting on the part of Prometheus,
sends Mercury swiftly down to extort the longed-for secret,
and to inflict new pains if the Titan prove rebellious. Him
Prometheus repulses with words of lofty scorn and invulner-
able will. Forgiveness has implied no weakening of his firm
integrity. Then comes the great scene of torture. Throngs
of Furies — awful Forms of Darkness — surge upward from
the abyss. They press around Prometheus, a stifling, evil
crowd ; they taunt him, they revile, they torment. Every
spiritual agony that the soul can know do they inflict upon
him. Yet though his soul is sorrowful unto death, it is not
conquered. To the temptation of despair he does not yield,
if despair mean the loss of inward loyalty to truth and right ;
and the baffled Furies vanish in rage. Then gather to con-
sole the weary Titan a troop of exquisite spirits. Their gen-
tle songs soothe though they cannot cheer the exhausted soul
of the sufferer. He hangs, weary, yet at peace ; the morn-
ing slowly dawns ; and we leave him as his wistful thoughts
turn towards Asia and towards Love.

If the first act is "The Torture of Prometheus," the
second may be called " The Journey of Asia." It is around
her figure that action now centres. In the beginning of the
act we find her waiting in an Indian vale, whose luxuriant
beauty contrasts strangely with the bleak ravine where Pro-
metheus suffers. Yet Asia, too, is sorrowful, though her sor-
row is passive. Separated from Prometheus, she languidly

INTRODUCTION. XXXI

waits and dreams. She is to learn that her mission is not
only to endure but to act, and through action to save the
world.

The moment is sunrise. Panthea comes, with messages
from Prometheus. Panthea, as our detailed study will show
us, is the Spirit of Intuition, or Faith, which ever mediates
between the soul of man and its ideal. She has strange
dreams to narrate — dreams of mystic meaning that summon
to an action unknown. In the eyes of Panthea, Asia be-
holds these dreams. The first is the Vision of Fulfilment, —
Prometheus joyous and free. The second is the Dream of
Progress ; and as Asia beholds it, the impulses of her own
brooding heart become clear to her. The cliffs around
become vocal with echoes that call on her to go forth. She
must hence, she knows not whither. Nature, which has
been but the passive reflection of her beauty, becomes
charged with spiritual significance. It stings with hunger
for full light, it murmurs a message half-understood of a
task that awaits, a reward to be won. We are here, in
the drama of spiritual evolution, at the great point of the
awakening of consciousness. Driven by an imperious in-
ward stress, Asia seizes the hand of Panthea, and with her
starts on a strange journey. Through the dark forest of
human experience they wander, — bound, though they know
it not, on a pilgrimage of redemption. They pause on a
mountain summit, and, abandoning self-guidance, yield in
meekness to radiant spirit-forces not their own. Into the
secret abysses of Being they are carried, to the presence, of
the awful Demogorgon, the unseen Fate that dwells in dark-
ness. This descent of Asia to the cave of Demogorgon
recalls the descent of Faust to the " Mothers " — the hidden

XXX11 PROMETHEUS UNBOUND.

roots of things — in the second part of Faust ; it recalls
yet more forcibly that fairest myth of the ancient world, the
descent of Psyche to the shades of Avernus.

In the presence of this oracular Darkness, which is yet a
Living Spirit, Asia seeks satisfaction in her perplexed brood-
ings over life and evil, and finally questions the fate of Pro-
metheus and herself. The answers come in deed, not word.
Swiftly appears a vision of the Cars of the Hours; swiftly
the awful Form of Demogorgon floats upward to the car of
darkness, while Asia and Panthea, transported to a shining
chariot, are whirled more swiftly than the lightning to a mys-
tic mount. Then comes the great consummation of the
drama. Asia is transfigured before us. Her being glows
with a strange radiance, so intense that it hides her from the
view. A Voice — the Voice of Prometheus — is heard chant-
ing to her a worshipful lyric, the highest expression alike of
Shelley's genius and of his faith ; and with her responsive
song, of almost equal beauty, and of profound meaning, the
act concludes.

The apotheosis of Asia is the climax of the spiritual
drama. But in the third act we witness the Fall of Jupiter
and the Liberation of Prometheus. Jupiter has just married
Thetis. The child of this union ( here is the secret which
Prometheus has so persistently withheld ) is to destroy his
father. Strange child ! For in truth he is no other than
an incarnation of Demogorgon. In a horror of great dark-
ness he ascends to the resplendent throne of the world's
ruler and pronounces doom. Scorn avails nothing, the
weapons of the gods are futile, futile thunderbolts and
prayers. The curse is fulfilled. From high heaven Jupiter
falls into the abyss, —

INTRODUCTION, xxxiii

" And like a cloud his enemy above
Darkens his fall with victory."

Hercules releases Prometheus, who, reunited to Asia,
enters upon an existence of limitless freedom and perfect
love. The Spirit of the Hour speeds, proclaiming redemp-
tion over land and sea ; and with a long passage describing
the joyful effects of his tidings the act concludes. The
fourth act was an afterthought which we could ill afford to
miss. It is a triumphal chorus of rejoicing. All powers of
earth and air, of the natural and the spiritual world, unite in
a wondrous paean that for depth and variety of music, for
beauty of imagery, for the expression of rapturous gladness,
finds no parallel in English verse. It is to music rather than
to literature that we must look for the analogues of poetry
such as this.

Here, then, in broad outline, is the story of the Prome-
theus Unbound. Many details it has which we have not
mentioned, but these will fall into place in the study of the
drama itself. What, now, is its meaning? Is it anything
more than a panorama of glowing forms and a sequence of
wondrous melodies? And if so, what?

It is a drama of the redemption of humanity ; and the
need and method of redemption are conceived as they could
be conceived under the influence of the new democratic
faith alone.

Prometheus is the representative of all humanity. He
suffers, oppressed by the tyranny of Jupiter ; yet it is from
Prometheus himself — and in this Shelley follows the Greek
myth — that all the power of Jupiter is derived. We must
be careful not to consider Jupiter as the abstract power of
moral evil. To Shelley his significance is mainly, perhaps,

xxxiv PROMETHEUS UNBOUND.

political. A few lines near the conclusion of the drama
give the clew to him : —

' ' Those foul shapes, abhorred by god and man,
Which, under many a name and many a form,
Strange, savage, ghastly, dark, and execrable,
Were Jupiter, the tyrant of the world."

He stands for all those institutions, civil and religious, which
were once the true expression of the will of man, but which,
as the centuries have passed, become effete forms, still
powerful to bind, and with an innate tendency to repress
progress. "Thrones, altars, judgment-seats, and prisons, "-
these, in one grand composite, comprising as they do all
the forms by which man has projected into the world the
authority of Law, unite in the idea of Jupiter. But while
Jupiter has thus rather an historic and outward than an
ethical and inward meaning, we must not forget that he
practically represents all the evil recognized by the poet ;
for "Shelley believed," so Mrs. Shelley tells us, "that man-
kind had only to will that there should be no evil and there
would be none." Evil is an accident of the outer life,
and thus, naturally enough, inheres exclusively in that out-
ward authority which checks the free play of impulse.
The evil Jupiter, thus conceived, is a shadowy creature
enough. Almost may we say that he has no real existence,
and accordingly throughout the drama he never possesses
the imagination. It is by his own weight that he falls.
He is made, in the first act, to pronounce his own curse,
and his destruction is wrought by his offspring. In the
marriage of Jupiter and Thetis, Shelley seems to portray
the overweening arrogance and v/3/sts through which a polit-
ical tyranny invests itself with the pomp of false glory,

INTRODUCTION. XXXV

and which always precedes its overthrow. The form of
Demogorgon assumed by the child of this fateful union is
the most difficult in the whole drama to apprehend, but we
can see one or two simple thoughts for which he stands.
In his aspect as child of Jupiter and Thetis, Demogorgon
undoubtedly means Revolution ; that revolution which al-
ways follows the marriage of unrighteous power to over-
weening display. Viewed from the intellectual side of the
historical sequence here suggested, Demogorgon stands for
the critical and destructive thought of the eighteenth cen-
tury, which, nurtured under a false and artificial civilization,
was the revolutionary force by which that civilization was
overthrown. Thus we are led to the deeper aspects of the
strange conception, — a conception which we can neither de-
fine nor understand, because Shelley doubtless meant Dem-
ogorgon to represent that background of inscrutable mystery
in existence which is at once the source and negation of all
our knowledge. We may call him Fate, if we will ; yet there
is another fate behind him. We may call him Wisdom, yet
there is much which he seemingly does not know. He has
been compared to the Hegelian Absolute, that " Union of
Contradictories " which is nothing and yet all. The most
useful way to think of him is as the Principle of Reason ;
Reason not indeed omniscient, but the best instrument man
possesses for the approach to absolute truth. Lying deep in
the unconscious life of humanity, this Reason is passionless
and passive ; yet now and again it will be roused, it will
arise, and, appearing in time under the aspect of some relent-
less phase of thought, will sweep down the old and sink once
more into silence. Most interesting is the way in which this
action of Demogorgon is brought about by Shelley. The

XXX vi PROMETHEUS UNBOUND.

obvious cause is the overweening arrogance of Jupiter ; but
another more potent cause lies deep in the secret mysteries
of being. For in the abode of darkness, Asia, Spirit of
Divine Love, has met Demogorgon. Face to face she has
spoken with him ; and it is only after this interview that the
"mighty shadow" floats upward from his throne. Surely
the poet here means to image to us the profound truth, that
it is only through contact with emotion that abstract thought
can become roused to action and appear in the sphere of
practical life, a vital and dynamic power. We have here a
clear suggestion of that revolutionary process by which the
frigid and inert reasoning of Voltaire and his kin, becoming
charged with passion, overthrew the ancient world.

Thus the self-destruction of evil is accomplished, and on
the negative side the process of redemption is complete :
but in the evolution of the myth there is another and positive
aspect of far greater beauty. The uplift of humanity is
achieved not only through the overthrow of evil but through
the active force of good. Not directly through the action of
Prometheus. True to his doctrine of non-resistance, Shelley
allows his Titan to play no part in his own salvation, unless
by the patient and heroic endurance of his pain. Through
Asia, the spirit of celestial love, shall redemption be worked
out : Asia, the Light of Life, highest embodiment in Shelley's
poetry of that Ideal towards which his worship ever ascends.

The second act, in which the myth of Asia is unfolded,
is poetically the most wonderful in the Prometheus Un-
bound, — that is to say, in the whole cycle of English song.
The verse palpitates with spiritual meaning, profound yet
elusive. It dazzles us like the sky at sunrise, yet like the
sky at sunrise purges our eyes to clearer sight. It is a myth

INTR OD UCTIOtf. XXXVli

of spiritual evolution, dealing with the moment when Love,
hitherto content to dream and suffer, is aroused to action
and to thought. We have already spoken of the long
journey to which the sister-spirits, Love and Faith, are
driven by their dreams and by the voices of nature. At
last, as we saw, they are drawn downward into the abysses
of being. Asia stands before Demogorgon ; Love questions
Ancient Wisdom. She asks a solution of the problems of
existence, — asks and is answered. The response does but
corroborate the yearning intuition of her own heart. Love
is supreme, Love is eternal ! This is the deepest word the
human reason deigns to speak. And it is enough. Demo-
gorgon, as we saw, is roused to activity by his meeting with
Asia. To Asia, also, the interview is a crisis. If reason must
be charged with passion before it can prevail, love on the
other hand must become instinct with wisdom before it can
be made manifest in that glory which shall save the world.
Yet this new wisdom does but reiterate the primal instinct of
Love. Tennyson's In Memoriam is the typical poem of the
middle of the century, as Shelley's Prometheus Unbound of
its earlier years. And the central message of both poems
is the same. Love Immortal is sung by both alike ; Love
discerned immortal first by the yearning of the eager heart,
proved immortal only by wearisome journey of thought
through the dark and lonely regions of soul-experience.
After her interview with Demogorgon, the power of Asia is
set free. Love is transfigured. Its rosy warmth pervades
the whole creation, and its power is revealed triumphantly
supreme. This is the act through which, in the secret
mystery of creation, the redemption of Prometheus is^
achieved. Thus through a double process, destructive and

XXXviii PROMETHEUS UNBOUND.

constru tive, — by revolution and by love, — is set free the
human soul. At this point, the Prometheus Unbound ceases
to be great. When redemption is achieved, when the
drama turns from hope and endurance, and endeavors to
picture fulfilment, the poem drops into bathos. Weak, sen-
timental, empty, — guilty of that worst of aesthetic sins, pretti-
ness, — is Shelley's description of the ideal state. After their
titanic throes, (heir radiant achievement, Prometheus and
Asia are united. Surely the progressive rapture of their life
will at least m glorious hint form the conclusion of the drama.
Not so. They retire to a certain cave ; there, like Arca-
dian shepherd and shepherdess, they live their passive days,
listening to the echoes of the human world and finding
supreme joy in the development of the arts. For a regen-
erate humanity, Shelley had no message. His ideal is
radically unprogressive, — the return to a Golden Age of
pastoral innocence, rather than the advance into new regions
ot material and spiritual conquest. " Equal, unclassed, tribe-
less and nationless, exempt from awe, worship, degree," is the
humanity of the future ; and the poetry is flat, the thought
is even flatter, in which its life is described.

In part, this descent into bathos is inevitable. All at-
tempts to describe an unknown millennium must needs be
futile ; even the Apocalypse deals only in guarded and rev-
erent symbol, and all uninspired books, from Plato to
" News from Nowhere," fail to attract us from our present
miseries to their insipid ideal. Yet Shelley's presentation
has a peculiar weakness. It is the weakness inherent in the
whole Revolutionary ideal, and may be summed up in two
defects. We have hinted at both of them before. The first
defect is the entire absence in the Prometheus Unbound

INTRODUCTION. xxxix

of the modern scientific conception of Law and Evolution ;
the second is the vagueness of the religious ideas of the
poem. The idea of progressive development was unknown
to the men of the Revolution. In their thought, salvation
was to be reached by a sudden overthrow of tyrants rather
than by a slow and constructive upbuilding. The ideal state,
when reached, was to be one of stagnant and empty enjoy-
ment, rather than one of continual advance through struggle.
All development is conditioned by law, and the thought of
law is abhorrent to them. The invertebrate society de-
scribed in the third act of the Prometheus Unbound is
the inevitable outcome of a state of pure anarchy ; and
anarchy as an ideal ought to have been made impossible for
us to-day by the teachings of modern science. Yet what
we miss in the Prometheus Unbound is deeper even than
the sense of the sacredness of law or the grandeur of devel-
opment. We feel the lack of any definiteness in the religious
thought of the poem. The interpretation of evil is hope-
lessly superficial ; not only does it ignore the scientific
aspect of evil as imperfect development, but also the far
deeper and truer aspect of evil as Sin. To represent out-
ward authority as the only force that hampers the free purity of
man, is simply to be false to fact. The absence, in the drama,
of any outlook towards immortality or any suggestion of
the Divine Fatherhood is the final source of its weakness.
Shut off from any hope of endless growth towards an infinite
perfection in the hereafter, shut in upon himself with no per-
sonal ideal towards which he can strive, nor spiritual strength
on which he can depend, it is no wonder that man, as Shel-
ley depicts him, is a creature of no personality, scarcely
higher, except for his aesthetic instincts, than an amiable brute.

xl PROMETHEUS UNBOUND.

Thus the crudity of the Prometheus Unbound is the
crudity of the Revolution : its strength also is largely the
strength of the Revolution. When we look upon the drama
as a whole, the surface inconsistencies, the deeper errors,
vanish from our thoughts, and leave a work of resplendent
insight. The weakness is of the intellect ; the strength is
of the spirit.

The controlling inspiration of Shelley's verse is the great
passion of his day. Far above its crude convictions soared
the clear faith of the new democratic ideal. The elements
of this faith are eternal. The first is a profound love for
humanity, a sympathy for all the woes of a suffering world.
This love, this sympathy, burn on every page of the Pro-
metheus Unbound. The next is the passion for freedom ;
such passion irradiates the drama. Last and greatest note
of the democratic ideal is the spirit of a deathless hope ; and
the serene assurance that evil shall be conquered by the
might of love is the soul of Shelley's poem. Through its
every line breathes a hope that can neither falter nor repent,
supreme in torture, triumphant over despair. The verse is
suffused with the light of it, and gleams with the radiance
of dawn. The Prometheus Unbound is a poem of the
sunrise : —

" The point of one white star is quivering still
Far in the orange light of widening dawn
Beyond the purple mountains."

Attainment in the drama there is none ; of rest it has no
message. It is a cloud-capped morning vision, with some-
thing of the elusiveness, the swift transitions, the shining
mystery of the cloud. As such, we must receive it. The
age was one of promise, not of achievement, and we wrong

INTRODUCTION. xli

its greatest poem when we search it for something which
the age could not bestow. The Prometheus Unbound
is the Drama of Hope. The time has not come yet — it
may come in some far-distant day — when a new Shelley
shall write for a rejoicing world the Drama of Fulfilment.

xlii PROMETHEUS UNBOUND.

III.
THE DRAMA AS A WORK OF ART.

IT is a thankless task to "unweave a rainbow." The
iridescent beauty of Shelley's poems stimulates the spirit of
joy rather than that of analysis. The historic position and
inner significance of a poem may be made clearer by com-
ment, but its charm as a work of art vanishes on close in-
spection, as the lights in a dew-drop die away under the
microscope. The exquisite lines of Blake are peculiarly
true of the appreciation of poetry : —

" He who bends to himself a joy
Shall the winged life destroy,
But he who kisses the joy as it flies
Lives in eternity's sunrise."

Thus the suggestions which it seems wise to make
concerning the artistic power of the Prometheus Unbound
will ieek, not to guide analysis, but to quicken receptivity.
A poet's achievement is always largely determined by his
temperament. This, true of all poets, is especially true of
Shelley. As we have seen, he is a pure idealist. The chief
notes of his temperament are two : an intense sensitiveness
and a passion for change. The nature of Shelley, like that
of Browning's St. John,

" Shudderingly, scarce a shred between,
Lies bare to the universal prick of light."

INTRODUCTION. xliii

Not only "music and moonlight and feeling," but color,
odor, form — yes, pain and pleasure — were one to Shelley.
He describes his own dominant mood in the words of the
little Spirit of the Earth : —

" It was, as it still is, the pain of bliss,
To move, to breathe, to be."

This poignant sensitiveness leads him to a marvellous
fineness of perception ; but his passion for change deter-
mines the sphere within which his perception shall act.
Keats is as responsive as Shelley to subtle sense-impressions ;
Wordsworth's eye and ear had a fairy fineness. But Words-
worth and Keats alike, though from different reasons —
Wordsworth from spiritual instinct, Keats from aesthetic
instinct — reflected most readily moods of repose. The
themes which both love to render are themes of peace.
Shelley's spirit is of a different order. He is possessed by
the vision of such elusive loveliness as vanishes for most of
us even before it is beheld. He is the poet of motion, of
half-tints and passing moods ; his glancing restlessness ren-
ders him interpreter of all that is fugitive in nature and the
mind of man.

All Shelley's poetry is subtly pervaded by his personality :
but nowhere else do we find so perfect an expression of his
nature as in the Prometheus Unbound. His idealism, his
sensitiveness, his tremulous restlessness, are in every line.
To the heaven of Shelley's mind the drama is like

" The sea, in storm or calm,
Heaven's ever-changing shadow, spread below."

It has a dream-like beauty, due in part to the pervading
sense of spiritual realities thinly concealed, in part to the

xliv PROMETHEUS UNBOUND.

wonderful delicacy with which it suggests rather than ren-
ders the most fugitive aspects of nature and of feeling.

But the Prometheus Unbound is more than a reflec-
tion of Shelley's temperament ; it reveals his highest power,
a power which otherwise we might never have known him
to possess. The drama is no mere succession of exquisite
details ; it has a noble and organic unity. Matthew Arnold
tells us that a "high architectonic faculty" must always
accompany complete poetic development. Ruskin calls
this faculty the Imagination Associative ; call it what we
will, it is the power which unites many imperfect parts into
a perfect whole. It presides, Arnold says, at the evolution
of works like the Agamemnon or the Antigone. Com-
paratively simple in manifestation through the tragic drama
of the Greeks, it finds fullest expression in the complex yet
organic construction of the Shakespearean drama. In the
majority of Shelley's poems, devoid as they are of all dra-
matic elements, there is perhaps no place for this power.
His minor lyrics are but a single strain, though sometimes,
as in the Ode to the West Wind, the varied development
of the emotional theme through a noble sequence of stanzas
gives to the poem an inward harmony which suggests high
constructive instinct. The Adonais, again, is finely organ-
ized, though the articulation of parts is here somewhat
artificial, owing to the closeness with which the poem follows
classic models. But in the Prometheus Unbound, Shelley
finally and completely vindicates his claim to the architec-
tonic faculty. His is not the Shakespearean power of dra-
matic construction, dependent on the clash of character
with event ; neither is it exactly the intellectual power shown
in a noble development of thought-experience, like Tenny

INTR OD UCTION. xlv

son's in the In Memoriam. Shelley's power is more akin
to that of the musician; from a simple melodic theme
he evolves a vast whole of ordered harmony. The Pro-
metheus Unbound is like a symphony or oratorio, where
the music, exquisite at every point, is modulated with won-
drous beauty and subtlety into a grandly progressive whole.
To translate the drama into terms of music is, indeed, a
fascinating and feasible experiment. The unity of the poem,
then, since akin to the unity of music, is primarily emo-
tional ; and surely no emotional theme was ever discovered
deeper and wider in scope, fuller of varied imaginative
suggestion, than that of this Drama of Redemption.

Each act of the Prometheus centres in a distinct phase
of the one theme. The first act, expressing the calm of
proud endurance, breaks towards the middle into an agony
still passive and at the end sinks into the peace of exhaus-
tion. The second act is one of hope and promise : if the
first centres in endurance, this centres in action. The spirit
of life palpitates through every line. Faint at first, as Asia
waits in lovely passiveness, it grows more eager, stronger,
till it culminates in the marvellous lyric which brings us close
to Goethe's Werdelust — the creative rapture of the soul
of the world. The third act is the calm of fulfilment, as the
first was the calm of endurance. In the fourth act, a lyrical
afterthought, the full paean of triumph sweeps us along with
tumultuous and unequalled harmony.

Now these moods — enduring expectation, life slowly
quickened to full activity, fulfilment, and triumph — find
expression, not alone through the thought of the poem, but
through its form. They interpenetrate its very structure/
and mould every line of its verse. The treatment of nature,

xlvi PROMETHEUS UNBOUND.

the use made of light and color, the melody, are all deter-
mined by them ; in studying the drama we must remember
that it is great not only in parts but as a whole, and that
each detail, however lovely in itself, gains wonderfully from
its relation to the emotional tone of the context.

The treatment of nature reveals Shelley as clearly as any-
thing in the Prometheus Unbound. In one sense, the
poem is a nature-drama. The soul of nature is herself one
of the personages and the scenery is grand and ideal. In Act
I. we have the wildest of mountain scenery, bleak and bare
save for the changing beauty of the sky ; in Act II. we find
ourselves surrounded by the luxuriance of tropical valleys.
Sky-cleaving peaks, glaciers, lakes, rivers, vast forests, meet
us on every page. For the most part, the action seems to
take place on the heights, where the air is pure from taint
and earth most nearly attains to heaven. The sky-scenery
above all, with its gloom of gathering storms, its radi-
ant sunrise, its " flocks of clouds in Spring's delightful
weather," is as great as can be found in English poetry.
Here Shelley's passion for change, for fleeting loveliness,
can find free scope indeed. Yet perhaps we remember less
the bold outline-work, the suggestion of nature's vaster
aspects, than the rendering of marvellously delicate detail,
V>st on a grosser eye or ear : —

" Winged clouds soar here and there
Dark with the rain new buds are dreaming of."

" As the bare green hill

Laughs with a thousand drops of sunny water
To the unpavilioned sky."

" As buds grow red when the snowstorms flee." ,

INTR OD UC TION. xl vii

" And like the vapours when the sun sinks down
Gathering again in drops upon the pines,
And tremulous as they, in the deep night
My being was condensed."

Shelley's imagination always plays upon exquisitely accu-
rate perception, yet his treatment of nature springs, not
from the dull observation of the scientist, but from the
vision-seeing faculty of the seer. It is a study full of interest
to see how often some definite scientific conception is seized
by him, and vitalized and vivified by the dynamic spiritual-
izing touch of the imagination. The little biography of a
dew-drop, Act IV. 1. 439, is a charming instance ; another is
found in a passage, Act IV. 1. 476, where the force of gravi-
tation is superbly interpreted into emotional terms.

It is only in the nineteenth century that the poets have
become great colorists, and Shelley is one of the greatest that
the century has seen. Only Keats, perhaps, can rival him ;
and if Keats has more force of color, Shelley has more pur-
ity. Keats's coloring is opaque, though brilliant, like that of
a butterfly's wing ; Shelley's is translucent, like an opal. Mr.
Ruskin tells us that Nature always paints her loveliest hues
on aqueous or crystalline matter ; and the very law of Nature
seems to be the instinct of Shelley. Rainbow-lights, keen,
swift, and pure, play through the Prometheus. The color
flashes and is gone, elusive as that in a dew-drop.

But the color in Prometheus Unbound has a higher
function than to vivify the detail of the poem or to give us a
series of exquisite vignettes. By the use of light and color
the great drama is shaped into an organic whole, and the
architectonic power of Shelley is nobly shown. The harr
monious progression or evolution of the drama towards a

xlviii PROMETHEUS UNBOUND.

definite goal is symbolically presented through the progress
of the new cosmic day. The first act opens with night. In
darkness, lit by the moonbeams of Memory and Hope, the
Titan, glacier-bound, hangs

" Upon this wall of eagle-baffling mountain,
Black, wintry, dead, unmeasured."

Slowly the " wingless, crawling hours " pass on. With the
approach of Mercury comes the first promise of the dawn,
that faint flush of color in the East which may be seen hours
before sunrise, gathering dim purple and solemn crimson out
of the very substance of the darkness and the void. The
delusive promise is not fulfilled. From the East again sweeps
up the thunder-cloud of the Furies : —

" Blackening the birth of day with countless wings,
And hollow underneath, like Death."

The storm covers the heavens with darkness which, deeper
than that of midnight, yet shadows forth but faintly the
darkness of the spirit of Prometheus. Flashes of lightning
reveal the lurid visions of the world's moments of keen-
est pain. At last the tempest spends its force, the clouds
melt away, and the "blue air" holds fresh promise of the
peace of dawn. The wings of the spirits of consolation fill
the air with pure cloud-tints : —

" See how they float

On their sustaining wings of skyey grain,
Orange and azure deepening into gold :
Their soft smiles fill the air like a star's fire."

The exquisite twilight of dawn enfolds us ; and, with the
paling of *he morning star, the act concludes. For the

INTRODUCTION. xlix

deepening of the sunrise into its full glory, we must turn to
the expectant heart of Love. The beginning of the second
act gives us the fullest blaze of color in the whole poem,
though the triumph of purest light is to follow later. This
sunrise-picture seems written in the hues of the sky itself.
Its greatest marvel lies in its swift transitions, the tremulous
passage of glory changed to glory even as we behold. Only
the soul of a Turner could apprehend such a vision, and the
brush of a Turner could but give us one arrested instant ;
while Shelley reveals the whole unfolding wondrous passage
of the morning from promise to radiant fulfilment.

From this point, the fresh light of morning shines more
and more clearly through the poem. Once again we feel
it with peculiar power, where Asia and Panthea, breath-
ing the pure air of the heights, watch below their feet
the curling, brilliant, sunlit mists which veil the abode of
Demogorgon.

Again for a short space, we descend to the region of
shadows, and, standing before the throne of Demogorgon,

perceive

" A mighty darkness

Filling the seat of power, and rays of gloom
Dart round, as light from the meridian sun."

Then, with abrupt and breathless transition, we are lifted
to the final Height of Vision, and to the consummation
of the drama. The apotheosis of Asia gives us the fulness
of white light, the high noon of the great cosmic day.
Shelley's mysticism here introduces one or two confusing
lines ; but his thought evidently is that the physical day has
yielded to the new spiritual order, and that the rising of the
material sun is superseded, at least in this great moment, by

1 PROMETHEUS UNBOUND.

the rising of the sun of Love. The development of the
theme of the Day is now dropped, and the light is seemingly
constant, the implication perhaps being that, in the evolu-
tion of human destiny, we have reached at last the era of
unshadowed bliss, which stoops not to evening.

The supreme aesthetic glory of the Prometheus Un-
bound is not its nature-descriptions nor its color-treatment,
but its music. Never did melody so enfold the spirit of a
poet. The form is transparent and supple as clear flame.
Blank verse rises into the long, passionate swing of the
anapaest, or is broken by the flute-like notes of short tro-
chaic lines, or relieved by the half-lyrical effect of rhymed
endings. The verse lends itself with equal beauty to the
grandeur of sustained endurance, to the passionate yearn-
ing of love, to severe philosophic inquiry, to the ethereal
notes of spirit-voices dying on the wind. The variety of
metres is marvellous. Thirty-six distinct verse-forms are
to be found, besides the blank verse. These forms are
usually simple ; but at times the versification-scheme is
as complex as that of the most elaborate odes of Dryden or
Collins. Yet the artificial and labored beauty of the eigh-
teenth century verse is replaced in Shelley by song spon-
taneous as that of his own skylark. The conventions, the
external barriers of poetry, are completely swept away by the
new democracy. We may apply to Shelley, and indeed to
the typical poet of the modern world, the noble line : —

" His nature is its own divine control."

The blank verse itself is no monotonous instrument, and the
range of the poet's power can in no way be better illustrated
than by the different kinds of music which he is able to draw

INTRODUCTION. \\

from an instrument technically unchanged. This may be
seen at once by comparing the opening soliloquy of Prome-
theus, in Act. I., with that of the opening soliloquy of Asia
in Act II. The music of these two passages is entirely dif-
ferent. In the speech of Prometheus, consonant strikes
hard on consonant, and the vowel-coloring is scant and
cold. The lines have a sonorous pomp, derived in part
from their austere majesty of epithet, in part from their
sternly repressed passion. But into the words of Asia has
passed something of the soft air and light of the spring-tide
which she sings. The melody has a prolonged and gentle
sweetness, which might be languid, were it not for the
sparkle of delicate life that animates the whole. The same
distinction of quality may always be felt in the best utter-
ances of Prometheus and of Asia. Jupiter, again, speaks
with a proud accent all his own. His monologue has a cer-
tain metallic ring, a harshness of utterance, quite different
from the pure, quiet, sad, and strong accent of Prometheus.
To Demogorgon's speeches Shelley has not, I think, suc-
ceeded in imparting a distinct cadence. He says little, and
his few speeches are commonplace as poetry, though at times
suggestive as thought. Any poet of the third order could
have written : —

" Lift thy lightnings not.

The tyranny of heaven none may retain

Or reassume or hold, succeeding thee."

Probably even Shelley found it difficult to impart individual
accent to the words of a " Mighty Darkness."

Of all these different types of blank verse, there is one
most intimately characteristic of Shelley. We find it always .
in the speeches of Asia, sometimes elsewhere. Miltonic

Hi PROMETHEUS UNBOUND.

echoes sound through the words of Prometheus and of
Jupiter, but there is a cadence of which Shelley alone is
master, unique in haunting, clinging melody.

" Shepherded by the slow, unwilling wind."
" With feet unwet, unwearied, undelaying."
" It is the unpastured sea hungering for calm."

" See where the child of heaven, with winged feet
Runs down the slanted sunlight of the dawn."

In lines like these, Shelley has drawn a new music from
English words.

Even the blank verse of Shelley holds a subtle lyrical cry ;
but it is the sweep and variety of direct lyrical modulation
which first arrests attention in the Prometheus Unbound.
There is no rigid distinction in the use of metre, yet the
major characters of the drama use as a rule the plain
recitative, while lone, Panthea, and the other chorus-char-
acters generally sing rather than speak. These chorus-
characters, or rather chorus-voices, enhance wonderfully the
imaginative power of the drama. Coming from an unseen
source, they make themselves heard again and again at
critical moments. The whole creation, visible and invisible,
seems thus to share in the great spiritual action of the poem ;
and the unearthly beauty of these snatches of song thrills
us with the sense that we are listening to elemental crea-
tures, too fine for discernment by any grosser sense than that
of sound. These spirit-voices are first heard in Act I., where
the Earth-mother, yet unenlightened, bemoans Prometheus's
retraction of the curse : —

INTRODUCTION. Hii

" Misery, oh misery to me
That Jove at last should vanquish ye.
Wail, howl aloud, land and sea.
The earth's rent heart shall answer ye.
Mourn, spirits of the living and the dead,
Your refuge, your defence, lies fallen and vanquished."

FIRST ECHO.
Lies fallen, and vanquished.

SECOND ECHO.

Fallen and vanquished.

Thus we have the impression of the Powers of Nature,
.ethereal yet unspiritual, unable to apprehend the higher atti-
tude of regenerate man. But the most exquisite instance
of this fairy-like use of the lyrical interlude is in that first
scene of the second act, already quoted, where all nature,
becoming vocal with spirit-voices, sings and whispers its
quickening message. These tiny lyrics can be compared to
nothing but the Ariel songs in the Tempest. They have
the same light trochaic movement, sacred, in Shakespeare
and Shelley, to fairy suggestion ; they have the same dainty
and elusive grace. Perhaps the singing of the wind in the
pine branches and the lovely, inarticulate rise and fall of the
sounds of nature in a spring morning ring through the songs
of Shelley's echoes even more perfectly than through those
of Shakespeare's tricksy sprite. In the last act of the Pro-
metheus the spirit-voices have it all their own way. Their
music, from an undertone, has become dominant, and they
blend with a grander harmony in expressing the rapture* of
a creation redeemed to the freedom of new and perfect
life.

liv PROMETHEUS UNBOUND.

Shelley's handling of his instrument will become clearer
if we follow very briefly the consecutive metrical changes in
the drama. As a rule, the blank verse marks passages of
transition or of repressed feeling, while at every climax of
passion the poetry rushes into lyrical form. The first intro-
duction of the lyric follows the opening soliloquy of Pro-
metheus. He calls on mountains, springs, the air, the
whirlwinds, to repeat to him the forgotten curse. They
respond, and deny, in long lyrical lines ; and, though the
horror deepens through the images of carnage presented by
their words, relief is yet afforded, after the stern repression
of Prometheus, by the free beauty of the movement of the
verse. The lyric next appears where lone and Panthea,.
whose voices are now heard for the first time, hail the
approach of the Phantasm of Jupiter. This is the first pas-
sage in the drama of pure and painless beauty. The curse
is lyrical, but even, slow, serene in movement. The com-
ing of Mercury is sung by the sister-spirits in exquisite
lines. After the long passage, in which the Titan, clad in
the conscious pride of purity, repels the temptation of the
fair Spirit of Compromise, the lyric appears again with
the coming of the Furies. We approach now the climax
of the horror of the drama. That horror is rendered en-
durable, and competent to purge us by pity and terror,
largely through the marvellous beauty of the music through
which it breathes. As the pain of the whole world presses
upon the spirit of Prometheus, the music deepens in gran-
deur and solemnity ; . the grievous terror of the visions
beheld by the Titan is subdued by the weird melody that
ebbs and flows with the theme. Yet not in lyric but in
blank verse is reached the climax of the revelation of sor-

INTRODUCTION. lv

row, and in blank verse does Prometheus utter his cry
of supreme anguish. Shelley doubtless here suggests the
quietness of the deepest horror of life. Not the height
of lyrical passion but dull recognition of daily experience
marks the supreme bitterness of the woful problem of hu-
man destiny. As the pain subsides and the weary but tri-
umphant Titan sinks into repose, the tension of the song
relaxes. The coming of the spirits of the human mind is
heralded in lines which afford exquisite relief by the mere
introduction of rhyme ; and the lyrics of consolation chanted
by these spirits have a serene and tender beauty of move-
ment all their own.

Of certain portions of the music of the second act we
have already spoken. " Shelley has here," says Todhunter,
" made English blank verse the native language of elemental
genii." The lyrics are more frequent, and blend more with
structure than in the first act. The whole journey of Asia
and Panthea is like a great processional, accompanied by a
chant which now rises, now falls upon the wind. The semi-
choruses that sing the advance of the sister-spirits have a sub-
tle mystical meaning ; they have also an imaginative beauty
of movement like that of Keats's Ode to a Nightingale,
but with less heavy richness, and a more flute-like tone.

The longest passage of blank verse in the act is the discus-
sion between Demogorgon and Asia, which is purely intel-
lectual. As soon as emotion and action reappear, the verse
breaks into the Song of the Spirit of the Hour. This ana-
paestic lyric, interrupted as it is by the end of the scene, £ud
ended in Scene V., gives a wonderful impression of haste.
The fifth scene, the apotheosis of Asia, touches the high-
water mark of the English lyric. The scene corresponds in

Ivi PROMETHEUS UNBOUND.

passion to the scene with the Furies, in Act I. As that was
hate this is love, as that was darkness this is light, as that was
supreme horror so this is supreme rapture. The great Lyric,
Life of Life, is simple in form, as a ray of white sunlight
is simple. Asia's response, less well known, is a sequence
of subtly inwoven harmonies.

The third act, as we have already said, is attuned to the
music of peace. But Shelley is less fitted to render this
music than to sing of desire, or even of endurance. The
second act is artistically as well as spiritually the finest in
the drama. Yet the third act has certain passages of tran-
quil music, music no longer, as in the first act, breathing the
tense calm of pain and scorn, but inspired with the free
serenity of joy. Such is the lovely little scene between Apollo
and Ocean, which is Hellenic in its pure repose.

The fourth act defies comment. The triumphant paean
of enfranchised Nature, it is so bewildering in complex
structure, so intricate in beauty, so remote from all human
interest, that complete sympathy with it is, perhaps, im-
possible. Yet the act as a whole marks the most sustained
effort of English lyrical genius. The music with which it
opens is light, almost too light, perhaps, as the Hours, past
and future, and the spirits of the human mind, join in joyful
choruses of thankful glee. But soon the music deepens and
widens, and proceeds with an involution of solemn harmony,
in the grand antiphon of rejoicing between the Spirit of the
Earth and of the Moon. The music of the earth is grave
and exultant, that of the moon exquisite in lightness and
tenderness. The act, and the drama, conclude with an
organ-roll of harmony, like that of the Ode to the West
Wind., Pemogorgon, the mystic Living Spirit, the Power

INTRODUCTION. Ivii

no longer of Destruction but of Love, solemnly invokes all
forces of natural and spiritual life to listen to his song ; and
when, in answering music, they attest their presence, and we
feel the harmony of the redeemed creation speaking through
their words, he utters, in cadence grave and serene, his final
message. It is the message of courage and of hope ; and
the quiet dignity and seriousness of the lines fitly conclude
that music which may at times have seemed wild, lawless,
and fantastic, yet which has always in its most passionate
abandon yielded allegiance to the law of perfect beauty.

Thus we see that the poetic power of Shelley, as mani-
fested in the Prometheus Unbound, is distinct and very
high. The hold on concrete human life of a Shakespeare
or a Browning he does not possess ; nor was there granted
to him the serene insight of Wordsworth nor the philosophic
method of Tennyson. But his exquisitely equipped temper-
ament, sensitive in every fibre, enabled him to express those
finest aspects of nature where visible trembles into invisible,
and those finest aspects of emotion where rapture and sor-
row blend. He has the power to sing melodies which seem
the echoes of unearthly music, while his imaginative passion
and spiritual insight reveal to him the solemn vision of
human destiny, and the redemption that shall be. The
Ode to the West Wind, written in the same year as the
Prometheus Unbound, doubtless expresses Shelley's own
longing for his drama; and as we realize the power with
which his message has been uttered, we must feel that the.
longing has been fulfilled : —

" Make me thy lyre, even as the forest is.
What though my leaves are falling like its own?
The tumult of thy mighty harmonies

Iviii PROMETHEUS UNBOUND.

u Shall take from both a deep Autumnal tone,
Sweet, though in sadness; be thou, Spirit fierce,
My Spirit; be thou me, impetuous one.

" Drive my dead thoughts over the universe

Like withered leaves, to quicken a new birth,
; And by the incantation of this verse

" Scatter, as from an unextinguished hearth,
Ashes and sparks, my words among mankind;
Be through my lips to unawakened earth

"The trumpet of a prophecy. O wind,
If Winter come, can Spring be far behind?"

PROMETHEUS UNBOUND

A LYRICAL DRAMA

IN FOUR ACTS

BY

PERCY BYSSHE SHELLEY

"Audisne hac Amphiarae, sub terram abditc?" \

PREFACE.

[By SHELLEY.]

THE Greek tragic writers, in selecting as their subject any portion
of their national history or mythology, employed in their treatment of
it a certain arbitrary discretion. They by no means conceived them-
selves bound to adhere to the common interpretation or to imitate in
story as in title their rivals and predecessors. Such a system would
have amounted to a resignation of those claims to preference over their
competitors which incited the composition. The Agamemnonian story
was exhibited on the Athenian theatre with as many variations as
dramas.

I have presumed to employ a similar licence. The Prometheus
Unbound of ^Eschylus supposed the reconciliation of Jupiter with his
victim as the price of the disclosure of the danger threatened to his
empire by the consummation of his marriage with Thetis. Thetis, ac-
cording to this view of the subject, was given in marriage to Peleus, and
Prometheus, by the permission of Jupiter, delivered from his captivity
by Hercules. Had I framed my story on this model, I should have
done no more than have attempted to restore the lost drama of y£schy-
lus; an ambition, which, if my preference to this mode of tf eating the
subject had incited me to cherish, the recollection of the high com-
parison such an attempt would challenge might well abate. But, in
truth, I was averse from a catastrophe so feeble as that of reconciling
the Champion with the Oppressor of mankind. The moral interest of
the fable, which is so powerfully sustained by the sufferings and endur-
ance of Prometheus, would be annihilated if we could conceive of him
as unsaying his high language and quailing before his successful and
perfidious adversary. The only imaginary being resembling in any
degree Prometheus, is Satan ; and Prometheus is, in my judgement, a
more poetical character than Satan, because, in addition to courage,

3

4 PREFACE.

and majesty, and firm and patient opposition to omnipotent force, he is
susceptible of being described as exempt from the taints of ambition,
envy, revenge, and a desire for personal aggrandisement, which, in the
Hero of Paradise Lost, interfere with the interest. The character of
Satan engenders in the mind a pernicious casuistry which leads us to
weigh his faults and his wrongs, and to excuse the former because the
latter exceed all measure. In the minds of those who consider that
magnificent fiction with a religious feeling it engenders something
worse. But Prometheus is, as it were, the type of the highest perfec-
tion of moral and intellectual nature, impelled by the purest and the
truest motives to the best and noblest ends. •

This Poem was chiefly written upon the mountainous ruins of the
Baths of Caracalla, among the flowery glades, and thickets of odor-
iferous blossoming trees, which are extended in ever winding labyrinths
upon its immense platforms and dizzy arches suspended in the air.
The bright blue sky of Rome, and the effect of the vigorous awakening
spring in that divinest climate, and the new life with which it drenches
the spirits even to intoxication, were the inspiration of this drama.

The imagery which I have employed will be found, in many in-
stances, to have been drawn from the operations of the human mind,
or from those external actions by which they are expressed. This is
unusual in modern poetry, although Dante and Shakspeare are full of
instances of the same kind : Dante indeed more than any other poet,
and with greater success. But the Greek poets, as writers to whom no
resource of awakening the sympathy of their contemporaries was un-
known, were in the habitual use of this power; and it is the study of
their works, (since a higher merit would probably be denied me,) to
which I am willing that my readers should impute this singularity.

One word is due in candour to the degree in which the study of
contemporary writings may have tinged my composition; for such has
been a topic of censure with regard to poems far more popular, and
indeed more deservedly popular, than mine. It is impossible that any
one who inhabits the same age with such writers as those who stand in
the foremost ranks of our own, can conscientiously assure himself that
his language and tone of thought may not have been modified by the
study of the productions of those extraordinary intellects. It is true,
that, not the spirit of their genius, but the forms in which it has mani-

PREFACE. 5

fested itself, are due less to the peculiarities of their own minds than
to the peculiarity of the moral and the intellectual condition of the
minds among which they have been produced. Thus a number of
writers possess the form, whilst they want the spirit of those whom, it
is alleged, they imitate; because the former is the endowment of the
age in which they live, and the latter must be the uncommunicated
lightning of their own mind.

The peculiar style of intense and comprehensive imagery which dis-
tinguishes the modern literature of England, has not been, as a general
power, the product of the imitation of any particular writer. The mass
of capabilities remains at every period materially the same ; the cir-
cumstances which awaken it to action perpetually change. If England
were divided into forty republics, each equal in population and extent
to Athens, there is no reason to suppose but that, under institutions
not more perfect than those of Athens, each would produce philoso-
phers and poets equal to those who (if we except Shakspeare) have
never been surpassed. We owe the great writers of the golden age
of our literature to that fervid awakening of the public mind which
shook to dust the oldest and most oppressive form of the Christian
religion. We owe Milton to the progress and developement of the same
spirit : the sacred Milton was, let it ever be remembered, a republican,
and a bold inquirer into morals and religion. The great writers of our
own age are, we have reason to suppose, the companions and forerunners
of some unimagined change in our social condition or the opinions
which cement it. The cloud of mind is discharging its collected light-
ning, and the equilibrium between institutions and opinions is now
restoring, or is about to be restored.

As to imitation, poetry is a mimetic art. It creates, but it creates
by combination and representation. Poetical abstractions are beauti-
ful and new, not because the portions of which they are composed had
no previous existence in the mind of man or in nature, but because the
whole produced by their combination has some intelligible and beauti-
ful analogy with those sources of emotion and thought, and with the
contemporary condition of them : one great poet is a masterpiece of
nature which another not only ought to study but must study. He
might as wisely and as easily determine that his mind should no longer
be the mirror of all that is lovely in the visible universe, as exclude

6 PREFACE.

from his contemplation the beautiful which exists in the writings of a
great contemporary. The pretence of doing it would be a presumption
in any but the greatest; the effect, even in him, would be strained,
unnatural, and ineffectual. A poet is the combined product of such
internal powers as modify the nature of others; and of such external
influences as excite and sustain these powers; he is not one, but both.
Every man's mind is, in this respect, modified by all the objects of Nature
and art; by every word and every suggestion which he ever admitted
to act upon his consciousness; it is the mirror upon which all forms
are reflected, and in which they compose one form. Poets, not other-
wise than philosophers, painters, sculptors, and musicians, are, in one
sense, the creators, and, in another, the creations, of their age. From
this subjection the loftiest do not escape. There is a similarity between
Homer and Hesiod, between ^Eschylus and Euripides, between Virgil
and Horace, between Dante and Petrarch, between Shakspeare and
Fletcher, between Dryden and Pope; each has a generic resemblance
under which their specific distinctions are arranged. If this similarity
be the result of imitation, I am willing to confess that I have imitated.
Let this opportunity be conceded to me of acknowledging that I
have, what a Scotch philosopher characteristically terms, " a passion
for reforming the world : " what passion incited him to write and pub-
lish his book, he omits to explain. For my part I would rather be
damned with Plato and Lord Bacon, than go to Heaven with Paley
and Malthus. But it is a mistake to suppose that I dedicate my poeti-
cal compositions solely to the direct enforcement of reform, or that I
consider them in any degree as containing a reasoned system on the
theory of human life. Didactic poetry is my abhorrence; nothing can
be equally well expressed in prose that is not tedious and supereroga-
tory in verse. My purpose has hitherto been simply to familiarize the
highly refined imagination of the more select classes of poetical readers
with beautiful idealisms of moral excellence; aware that until the mind
can love, and admire, and trust, and hope, and endure, reasoned princi-
ples of moral conduct are seeds cast upon the highway of life which
the unconscious passenger tramples into dust, although they would
bear the harvest of his happiness. Should I live to accomplish what I
purpose, that is, produce a systematical history of what appear to me
to be the genuine elements of human society, let not the advocates of

PREFACE.

injustice and superstition flatter themselves that I should take
lus rather than Plato as my model.

The having spoken of myself with unaffected freedom will need little
apology with the candid; and let the uncandid consider that they
injure me less than their own hearts and minds by misrepresentation.
Whatever talents a person may possess to amuse and instruct others, be
they ever so inconsiderable, he is yet bound to exert them : if his
attempt be ineffectual, let the punishment of an unaccomplished pur-
pose have been sufficient; let none trouble themselves to heap the dust
of oblivion upon his efforts; the pile they raise will betray his grave
which might otherwise have been unknown.

PROMETHEUS UNBOUND.

DRAMATIS PERSONS.

PROMETHEUS.

DEMOGORGON.

JUPITER.

THE EARTH.

OCEAN.

APOLLO,

MERCURY.

HERCULES.

ASIA, i

PANTHEA, >• Oceanides.
IONE, J

THE PHANTASM OF JUPITER.
THE SPIRIT OF THE EARTH.
THE SPIRIT OF THE MOON.
SPIRITS OF THE HOURS.
SPIRITS. ECHOES. FAUNS.
FURIES.

SCENE, A Ravine of Icy Rocks in the Indian Caucasus.
PROMETHEUS is discovered bound to the Precipice. PAN-
THEA and IONE are seated at his Feet. Time, Night.
During the Scene, Morning slowly breaks.

PROMETHEUS.

Monarch of Gods and Daemons, and all Spirits ^

But One, who throng those bright and rolling worlds
Which Thou and I alone of living things
Behold with sleepless eyes ! regard this Earth

10 PROMETHEUS UNBOUND. [ACT i.

Made multitudinous with thy slaves, whom thou

Requitest for knee-worship, prayer, and praise,

And toil, and hecatombs of broken hearts,

With fear and self-contempt and barren hope.

Whilst me, who am thy foe, eyeless in hate,

Hast thou made reign and triumph, to thy scorn, 10

O'er mine own misery and thy vain revenge.

Three thousand years of sleep-unsheltered hours,

And moments aye divided by keen pangs

Till they seemed years, torture and solitude,

Scorn and despair, — these are mine empire.

More glorious far than that which thou surveyest

From thine unenvied throne, O, Mighty God !

Almighty, had I deigned to share the shame

Of thine ill tyranny, and hung not here

Nailed to this wall of eagle-baffling mountain, 20

Black, wintry, dead, unmeasured ; without herb,

Insect, or beast, or shape or sound of life.

Ah me ! alas, pain, pain ever, for ever !

No change, no pause, no hope ! Yet I endure.

I ask the Earth, have not the mountains felt?

I ask yon Heaven, the all-beholding Sun,

Has it not seen ? The Sea, in storm or calm,

Heaven's ever-changing shadow spread below,

Have its deaf waves not heard my agony?

Ah me ! alas, pain, pain ever, for ever ! 30

The crawling glaciers pierce me with the spears
Of their moon-freezing crystals, the bright chains
Eat with their burning cold into my bones.
Heaven's winged hound, polluting from thy lips

ACT I.] PROMETHEUS UNBOUND. 11

I

His beak in poison not his own, tears up

My heart ; and shapeless sights come wandering by,

The ghastly people of the realm of dream,

Mocking me : and the Earthquake- fiends are charged

To wrench the rivets from my quivering wounds

When the rocks split and close again behind : 40

While from their loud abysses howling throng

The genii of the storm, urging the rage

Of whirlwind, and afflict me with keen hail

And yet to me welcome is day and night,

Whether one breaks the hoar frost of the morn,

Or, starry, dim, and slow, the other climbs

The leaden-colored east ; for then they lead

The wingless, crawling hours, one among whom

— As some dark Priest hales the reluctant victim —

Shall drag thee, cruel King, to kiss the blood 50

From these pale feet, which then might trample thee

If they disdained not such a prostrate slave.

Disdain ! Ah no ! I pity thee. What ruin

Will hunt thee undefended thro' the wide Heaven !

How will thy soul, cloven to its depth with terror,

Gape like a heft within ! I speak in grief,

Not exultation, for I hate no more,

As then ere misery made me wise. The curse

Once breathed on thee I would recall. Ye Mountains,

Whose many-voiced Echoes, thro' the mist 60

Of cataracts, flung the thunder of that spell !

Ye icy Springs, stagnant with wrinkling frost,

Which vibrated to hear me, and then crept

Shuddering thro' India ! Thou serenest Air,

Thro' which the Sun walks burning without beams !

12 PROMETHEUS UNBOUND. [ACT I.

And ye swift Whirlwinds, who on poised wings

Hung mute and moveless o'er yon hushed abyss,

As thunder, louder than your own, made rock

The orbed world ! If then my words had power,

Though I am changed so that aught evil wish 70

Is dead within ; although no memory be

Of what is hate, let them not lose it now !

What was that curse ? for ye all heard me speak.

FIRST VOICE : from the Mountains.

Thrice three hundred thousand years
O'er the Earthquake's couch we stood :

Oft, as men convulsed with fears,
We trembled in our multitude.

SECOND VOICE : from the Springs.

Thunder-bolts had parched our water,
We had been stained with bitter blood,

And had run mute, 'mid shrieks of slaughter, 80
Thro' a city and a solitude.

•
• THIRD VOICE : from the Air.

I had clothed, since Earth uprose,

Its wastes in colours not their own,
And oft had my serene repose

Been cloven by many a rending groan.

FOURTH VOICE : from the Whirlwinds,

We had soared beneath these mountains
Unresting ages ; nor had thunder,

ACT I.] PROMETHEUS UNBOUND. 13

Nor yon volcano's flaming fountains,
Nor any power above or under
Ever made us mute with wonder. 90

FIRST VOICE.

But never bowed our snowy crest
As at the voice of thine unrest.

SECOND VOICE.

Never such a sound before
To the Indian waves we bore.
A pilot asleep on the howling sea
Leaped up from the deck in agony,
And heard, and cried, " Ah, woe is me ! "
And died as mad as the wild waves be.

THIRD VOICE.

By such dread words from Earth to Heaven
My still realm was never riven : 100

When its wound was closed, there stood
Darkness o'er the day like blood.

ff

FOURTH VOICE.

And we shrank back : for dreams of ruin
To frozen caves our flight pursuing
Made us keep silence — thus — and thus —
Though silence is a hell to us.

THE EARTH.

The tongueless Caverns of the craggy hills

Cried, ' Misery ! ' then ; the hollow Heaven replied

14 PROMETHEUS UNBOUND. [ACT I.

' Misery ! ' And the Ocean's purple waves,

Climbing the land, howled to the lashing winds, no

And the pale nations heard it, ' Misery ! '

PROMETHEUS.

I heard a sound of voices : not the voice

Which I gave forth. Mother, thy sons and thou

Scorn him, without whose all- enduring will

Beneath the fierce omnipotence of Jove,

Both they and thou had vanished, like thin mist

Unrolled on the morning wind. Know ye not me,

The Titan ? He who made his agony

The barrier to your else all-conquering foe ?

Oh rock-embosomed lawns, and snow-fed streams, 120

Now seen athwart frore vapours, deep below,

Thro' whose o'ershadowing woods I wandered once

With Asia, drinking life from her loved eyes ;

Why scorns the spirit which informs ye, now

To commune with me ? me alone, who checked,

As one who checks a fiend-drawn charioteer,

The falsehood and the force of him who reigns

Supreme, and with the groans of pining slaves

Fills your dim glens and liquid wildernesses :

Why answer ye not, still ? Brethren !

THE EARTH.

They dare not. 130

PROMETHEUS.

Who dares ? for I would hear that curse again.
Ha, what an awful whisper rises up !

ACT I.] PROMETHEUS UNBOUND. 15

Tis scarce like sound : it tingles thro' the frame
As lightning* tingles, hovering ere it strike.
Speak, Spirit ! From thine inorganic voice
I only know that thou art moving near
And love. How cursed I him ?

THE EARTH.

How canst thou hear
Who knowest not the language of the dead ?

PROMETHEUS.
Thou art a living spirit : speak as they.

THE EARTH.

I dare not speak like life, lest Heaven's fell King 140

Should hear, and link me to some wheel of pain

More torturing than the one whereon I roll.

Subtle thou art and good, and tho' the Gods

Hear not this voice, yet thou art more than God,

Being wise and kind : earnestly hearken now.

PROMETHEUS.

Obscurely thro' my brain, like shadows dim,
Sweep awful thoughts, rapid and thick. I feel
Faint, like one mingled in entwining love ;
Yet 'tis not pleasure.

THE EARTH.

No, thou canst not hear :

Thou art immortal, and this tongue is known 150

**w
Only to those who die.

16 PROMETHEUS UNBOUND. [ACT I,

PROMETHEUS.

•

And what art thou,
O, melancholy Voice ?

THE EARTH.

I am the Earth,

Thy mother ; she within whose stony veins,
To the last fibre of the loftiest tree
Whose thin leaves trembled in the frozen air,
Joy ran, as blood within a living frame,
When thou didst from her bosom, like a cloud
Of glory, arise, a spirit of keen joy !
And at thy voice her pining sons uplifted
Their prostrate brows from the polluting dust, 160

And our almighty Tyrant with fierce dread
Grew pale, until his thunder chained thee here.
Then, see those million worlds which burn and roll
Around us : their inhabitants beheld
My sphered light wane in wide Heaven ; the sea
Was lifted by strange tempest, and new fire
From earthquake-rifted mountains of bright snow
Shook its portentous hair beneath Heaven's frown ;
Lightning and Inundation vexed the plains ;
Blue thistles bloomed in cities ; foodless toads 170

Within voluptuous chambers panting crawled :
Where Plague had fallen on man, and beast, and worm,
And Famine ; and black blight on herb and tree ;
And in the corn, and vines, and meadow-grass,
Teemed ineradicable poisonous weeds
Draining their growth, for my wan breast was dry
With grief; and the thin air, my breath, was stained

ACT I.] PROMETHEUS UNBOUND. 17

With the contagion of a mother's hate

Breathed on her child's destroyer ; aye, I heard

Thy curse, the which, if thou rememberest not, 180

Yet my innumerable seas and streams,

Mountains, and caves, and winds, and yon wide air,

And the inarticulate people of the dead,

Preserve, a treasured spell. We meditate

In secret joy and hope those dreadful words,

But dare not speak them.

PROMETHEUS.

Venerabl* mother !

All else who live and suffer take from thee
Some comfort ; flowers, and fruits, and happy sounds,
And love, though fleeting ; these may not be mine.
But mine own words, I pray, deny me not. 190

THE EARTH.

They shall be told. Ere Babylon was dust,

The Magus Zoroaster, my dead child,

Met his own image walking in the garden.

That apparition, sole of men, he saw.

For know, there are two worlds of life and death :

One that which thou beholdest ; but the other

Is underneath the grave, where do inhabit

The shadows of all forms that think and live

Till death unite them and they part no more ;

Dreams and the light imaginings of men, 200

And all that faith creates or love desires,

Terrible, strange, sublime, and beauteous shapes.

There thou art, and dost hang, a writhing shade,

18 PROMETHEUS UNBOUND. [ACT i.

Mid whirlwind-peopled mountains ; all the Gods

Are there, and all the powers of nameless worlds,

Vast, sceptred phantoms ; heroes, men, and beasts ;

And Demogorgon, a tremendous gloom ;

And he, the supreme Tyrant, on his throne

Of burning gold. Son, one of these shall utter

The curse which all remember. Call at will 210

Thine own ghost, or the ghost of Jupiter,

Hades or Typhon, or what mightier Gods

From all-prolific Evil, since thy ruin

Have sprung, and trampled on my prostrate sons.

Ask, and they must rftply : so the revenge

Of the Supreme may sweep through vacant shades,

As rainy wind through the abandoned gate

Of a fallen palace.

PROMETHEUS.
Mother, let not aught
Of that which may be evil, pass again

My lips, or those of aught resembling me. 220

Phantasm of Jupiter, arise, appear !

ZONE.
My wings are folded o'er mine ears :

My wings are crossed o'er mine eyes :
Yet thro' their silver shade appears,

And thro' their lulling plumes arise,
A Shape, a throng of sounds ;

May it be no ill to thee
O thou of many wounds !
Near whom, for our sweet sister's sake,
Ever thus we watch and wake. 230

ACT I.] PROMETHEUS UNBOUND. 19

PANTHEA.

The sound is of whirlwind underground,

Earthquake, and fire, and mountains cloven ;
The shape is awful like the sound,

Clothed in dark purple, star-inwoven.
A sceptre of pale gold

To stay steps proud, o'er the slow cloud
His veined hand doth hold.
Cruel he looks, but calm and strong,
Like one who does, not suffers wrong.

PHANTASM OF JUPITER.

Why have the secret powers of this strange world 240

Driven me, a frail and empty phantom, hither

On direst storms ? What unaccustomed sounds

Are hovering on my lips, unlike the voice

With which our pallid race hold ghastly talk

In darkness ? And, proud sufferer, who art thou ?

PROMETHEUS.

Tremendous Image, as thou art must be
He whom thou shadowest forth. I am his foe,
The Titan. Speak the words which I would hear,
Although no thought inform thine empty voice.

THE EARTH.

Listen ! And tho' your echoes must be mute, 250

Grey mountains, and old woods, and haunted springs,
Prophetic caves, and isle-surrounding streams,
Rejoice to hear what yet ye cannot speak.

20 PROMETHEUS UNBOUND. [ACT i.

PHANTASM.

A spirit seizes me and speaks within :
It tears me as fire tears a thunder-cloud.

PANTHEA.

See, how he lifts his mighty looks, the Heaven
Darkens above.

ZONE.
He speaks ! O shelter me !

PROMETHEUS.

I see the curse on gestures proud and cold,

And looks of firm defiance, and calm hate,

And such despair as mocks itself with smiles, 260

Written as on a scroll : yet speak : Oh, speak !

PHANTASM.

Fiend, I defy thee ! with a calm, fixed mind,
All that thou canst inflict I bid thee do;

Foul Tyrant both of Gods and Human-kind,
One only being shalt thou not subdue.

Rain then thy plagues upon me here,

Ghastly disease, and frenzying fear ;

And let alternate frost and fire

Eat into me, and be thine ire

Lightning, and cutting hail, and legioned forms 270
Of furies, driving by upon the wounding storms.

Aye, do thy worst. Thou art omnipotent.
O'er all things but thyself I gave thee power,

ACT I.] PROMETHEUS UNBOUND. 21

And my own will. Be thy swift mischiefs sent
To blast mankind, from yon aetherial tower.

Let thy malignant spirit move

In darkness over those I love :

On me and mine I imprecate

The utmost torture of thy hate ;

And thus devote to sleepless agony, 280

This undeclining head while thou must reign on high.

But thou, who art the God and Lord : O, thou,
Who fillest with thy soul this world of woe,

To whom all things of Earth and Heaven do bow
In fear and worship : all-prevailing foe !

I curse thee ! let- a sufferer's curse

Clasp thee, his torturer, like remorse ;

Till thine Infinity shall be

A robe of envenomed agony ;

And thine Omnipotence a crown of pain, 290

To cling like burning gold round thy dissolving brain.

Heap on thy soul, by virtue of this Curse,

111 deeds, then be thou damned, beholding good ;
Both infinite as is the universe,

And thou, and thy self- torturing solitude.
An awful image of calm power
Though now thou sittest, let the hour
Come, when thou must appear to be
That which thou art internally.

And after many a false and fruitless crime 300

Scorn track thy lagging fall thro' boundless space and
time.

22 PROMETHEUS UNBOUND. [ACT it

PROMETHEUS.
Were these my words, O, Parent ?

THE EARTH.

They were thine.
PROMETHEUS.

It doth repent me : words are quick and vain ;

Grief for awhile is blind, and so was mine.
I wish no living thing to suffer pain.

THE EARTH.

Misery, Oh misery to me,

That Jove at length should vanquish thee.

Wail, howl aloud, Land and Sea,

The Earth's rent heart shall answer ye.
Howl, Spirits of the living and the dead, 310

Your refuge, your defence lies fallen and vanquished.

FIRST ECHO.
Lies fallen and vanquished !

SECOND ECHO.
Fallen and vanquished !

IONE.
Fear not : 'tis but some passing spasm,

The Titan is unvanquished still.
But see, where thro' the azure chasm

Of yon forked and snowy hill
Trampling the slant winds on high

With golden-sandalled feet, that glow

4CTJ.] PROMETHEUS UNBOUND, 23

Under plumes of purple dye, 320

Like rose-ensanguined ivory,

A Shape comes now,
Stretching on high from his right hand

A serpent-cinctured wand.

PANTHEA.
'Tis Jove's world-wandering herald, Mercury.

IONE.

And who are those with hydra tresses
And iron wings that climb the wind,

Whom the frowning God represses
Like vapours steaming up behind,

Clanging loud, an endless crowd — 330

PANTHEA.

These are Jove's tempest-walking hounds,
Whom he gluts with groans and blood,
When charioted on sulphurous cloud
He bursts Heaven's bounds.

IONE.

Are they now led, from the thin dead
On new pangs to be fed?

PANTHEA.
The Titan looks as ever, firm, not proud.

FIRST FURY.
Ha ! I scent life !

24 PROMETHEUS UNBOUND. [ACT i.

SECOND FURY.
Let me but look into his eyes !

THIRD FURY.

The hope of torturing him smells like a heap 340

Of corpses, to a death-bird after battle.

FIRST FURY.

Barest thou delay, O Herald ! Take cheer, Hounds
Of Hell : what if the Son of Maia soon
Should make us food and sport — who can please long
The Omnipotent?

MERCURY.

Back to your towers of iron,
And gnash, beside the streams of fire and wail,
Your foodless teeth. Geryon, arise ! and Gorgon,
Chimaera, and thou Sphinx, subtlest of fiends
Who ministered to Thebes Heaven's poisoned wine,
Unnatural love, and more unnatural hate : 350

These shall perform your task.

FIRST FURY.

Oh, mercy ! mercy !
We die with our desire : drive us not back !

MERCURY.
Crouch then in silence.

Awful Sufferer

To thee unwilling, most unwillingly
I come, by the great Father's will driven down,
To execute a doom of new revenge.

ACT i.] PROMETHEUS UNBOUND. 25

Alas ! I pity thee, and hate myself

That I can do no more : aye from thy sight

Returning, for a season, Heaven seems Hell,

So thy worn form pursues me night and day, 360

Smiling reproach. Wise art thou, firm and good, ^

But vainly wouldst stand forth alone in strife

Against the Omnipotent ; as yon clear lamps

That measure and divide the weary years

From which there is no refuge, long have taught

And long must teach. Even now thy Torturer arms

With the strange might of unimagined pains

The powers who scheme slow agonies in Hell,

And my commission is to lead them here,

Or what more subtle, foul, or savage fiends 370

People the abyss, and leave them to their task.

Be it not so ! there is a secret known

To thee, and to none else of living things,

Which may transfer the sceptre of wide Heaven,

The fear of which perplexes the Supreme :

Clothe it in words, and bid it clasp his throne

In intercession ; bend thy soul in prayer,

And like a suppliant in some gorgeous fane,

Let the will kneel within thy haughty heart : }

For benefits and meek submission tame 380

The fiercest and the mightiest.

PROMETHEUS.

Evil minds

Change good to their own nature. I gave all
He has ; and in return he chains me here
Years, ages, night and day : whether the Sun

26 PROMETHEUS UNBOUND. [ACT i.

Split my parched skin, or in the moony night

The crystal-winged snow cling round my hair :

Whilst my beloved race is trampled down

By his thought-executing ministers.

Such is the tyrant's recompense : 'tis just :

He who is evil can receive no good ; 390

And for a world bestowed, or a friend lost,

He can feel hate, fear, shame ; not gratitude :

He but requites me for his own misdeed.

Kindness to such is keen reproach, which breaks

With bitter stings the light sleep of Revenge.

Submission, thou dost know I cannot try :

For what submission but that fatal word,

The death-seal of mankind's captivity,

Like the Sicilian's hair-suspended sword,

Which trembles o'er his crown, would he accept, 400

Or could I yield ? Which yet I will not yield.

Let others flatter Crime, where it sits throned

In brief Omnipotence : secure are they :

For Justice, when triumphant, will weep down

Pity, not punishment, on her own wrongs,

Too much avenged by those who err. I wait,

Enduring thus, the retributive hour

Which since we spake is even nearer now.

But hark, the hell-hounds clamour : fear delay :

Behold ! Heaven lowers under thy Father's frown. 410

MERCURY.

Oh, that we might be spared : I to inflict
And thou to suffer ! Once more answer me :
Thou knowest not the period of Jove's power?

ACT I.] PROMETHEUS UNBOUND, 27

PROMETHEUS.
I know but this, that it must come.

MERCURY.

Alas!
Thou canst not count thy years to come of pain ?

PROMETHEUS.

They last while Jove must reign : nor more, nor less
Do I desire or fear.

MERCURY.

Yet pause, and plunge
Into Eternity, where recorded time,
Even all that we imagine, age on age,
Seems but a point, and the reluctant mind 420

Flags wearily in its unending flight,
Till it sink, dizzy, blind, lost, shelterless ;
Perchance it has not numbered the slow years
Which thou must spend in torture, unreprieved ?

PROMETHEUS.
Perchance no thought can count them, yet they pass.

MERCURY.

If thou might'st dwell among the Gods the while
Lapped in voluptuous joy?

•
PROMETHEUS.

I would not quit
This bleak ravine, these unrepentant pains.

28 PROMETHEUS UNBOUND. [ACT i.

MERCURY.
Alas ! I wonder at, yet pity thee.

PROMETHEUS.

Pity the self-despising slaves of Heaven, 430

Not me, within whose mind sits peace serene,
As light in the sun, throned : how vain is talk !
Call up the fiends.

IONE.

O, sister, look ! White fire

Has cloven to the roots yon huge snow-loaded cedar j
How fearfully God's thunder howls behind !

MERCURY.

I must obey his words and thine : alas !
Most heavily remorse hangs at my heart !

PANTHEA.

See where the child of Heaven, with winged feet,
Runs down the slanted sunlight of the dawn.

IONE.

Dear sister, close thy plumes over thine eyes 440

Lest thou behold and die : they come : they come
Blackening the birth of day with countless wings,
And hollow underneath, like death.

FIRST FURY.

Prometheus !

SECOND FURY.
Immortal Titan !

ACT I.] PROMETHEUS UNBOUND. 29

THIRD FURY.
Champion of Heaven's slaves !

PROMETHEUS.

He whom some dreadful voice invokes is here,

Prometheus, the chained Titan. Horrible forms,

What and who are ye ? Never yet there came

Phantasms so foul thro' monster-teeming Hell

From the all-miscreative brain of Jove ;

Whilst I behold such execrable shapes, 450

Methinks I grow like what I contemplate,

And laugh and stare in loathsome sympathy.

FIRST FURY.

We are the ministers of pain, and fear,
And disappointment, and mistrust, and hate,
And clinging crime ; and as lean dogs pursue
Thro' wood and lake some struck and sobbing fawn,'
We track all things that weep, and bleed, and live,
When the great King betrays them to our will.

PROMETHEUS.

Oh ! many fearful natures in one name,

I know ye ; and these lakes and echoes know 460

The darkness and the clangour of your wings.

But why more hideous than your loathed selves

Gather ye up in legions from the deep ?

SECOND FURY.
We knew not that : Sisters, rejoice, rejoice. !

30 PROMETHEUS UNBOUND. [ACT i.

PROMETHEUS.
Can aught exult in its deformity?

SECOND FURY.

The beauty of delight makes lovers glad,

Gazing on one another : so are we.

As from the rose which the pale priestess kneels

To gather for her festal crown of flowers

The aerial crimson falls, flushing her cheek, 470

So from our victim's destined agony

The shade which is our form invests us round,

Else we are shapeless as our mother Night.

PROMETHEUS.

I laugh your power, and his who sent you here,
To lowest scorn. Pour forth the cup of pain.

FIRST FURY.

Thou thinkest we will rend thee bone from bone,
And nerve from nerve, working like fire within?

PROMETHEUS.

Pain is my element, as hate is thine ;
Ye rend me now : I care not.

SECOND FURY.

Dost imagine
We will but laugh into thy lidless eyes? 480

PROMETHEUS.
I weigh not what ye do, but what ye suffer,

ACT I.] PROMETHEUS UNBOUND. 31

Being evil. Cruel was the power which called
You, or aught else so wretched, into light.

THIRD FURY.

Thou think'st we will live thro' thee, one by one,

Like animal life, and tho' we can obscure not

The soul which burns within, that we will dwell

Beside it, like a vain loud multitude

Vexing the self-content of wisest men :

That we will be dread thought beneath thy brain,

And foul desire round thy astonished heart, 490

And blood within thy labyrinthine veins

Crawling like agony.

PROMETHEUS.

Why, ye are thus now ;
Yet am I king over myself, and rule
The torturing and conflicting throngs within,
As Jove rules you when Hell grows mutinous.

CHORUS OF FURIES.

From the ends of the earth, from the ends of the earth,
Where the night has its grave and the morning its birth,

Come, come, come !

Oh, ye who shake hills with the scream of your mirth,
When cities sink howling in ruin ; and ye 500

Who with wingless footsteps trample the sea,
And close upon Shipwreck and Famine's track,
Sit chattering with joy on the foodless wreck j

Come, come, come !

32 PROMETHEUS UNBOUND. [ACT 7,

Leave the bed, low, cold, and red,
Strewed beneath a nation dead ;
Leave the hatred, as in ashes

Fire is left for future burning :
It will burst in bloodier flashes

When ye stir it, soon returning : 510

Leave the self-contempt implanted
In young spirits, sense-enchanted,

Misery's yet unkindled fuel :
Leave Hell's secrets half unchanted

To the maniac dreamer ; cruel
More than ye can be with hate

Is he with fear.
Come, come, come !
We are steaming up from Hell's wide gate

And we burthen the blasts of the atmosphere, 520

But vainly we toil till ye come here.

IONE.
Sister, I hear the thunder of new wings.

PANTHEA.

These solid mountains quiver with the sound
Even as the tremulous air : their shadows make
The space within my plumes more black than night.

FIRST FURY.

Your call was as a winged car
Driven on whirlwinds fast and far ;
It rapt us from red gulphs of war.

ACT I.] PROMETHEUS UNBOUND. 33

SECOND FURY.
From wide cities, famine-wasted ;

THIRD FURY.
Groans half heard, and blood untasted ; 530

FOURTH FURY.

Kingly conclaves stern and cold,
Where blood with gold is bought and sold ;

FIFTH FURY.

From the furnace, white and hot,
In which —

A FURY.

Speak not : whisper not :
I know all that ye would tell,
But to speak might break the spell
Which must bend the Invincible,

The stern of thought ;
He yet defies the deepest power of Hell.

FURY.
Tear the veil !

ANOTHER FURY.
It is torn.

CHORUS.

The pale stars of the morn 540
Shine on a misery, dire to be borne.
Dost thou faint, mighty Titan ? We laugh thee to scorn.
Dost thou boast the clear knowledge thou waken'dst for
man?

34 PROMETHEUS UNBOUND. [ACT i.

Then was kindled within him a thirst which outran
Those perishing waters ; a thirst of fierce fever,
Hope, love, doubt, desire, which consume him for ever.
One came forth of gentle worth,
Smiling on the sanguine earth ;
His words outlived him, like swift poison

Withering up truth, peace, and pity. 55o

Look ! where round the wide horizon

Many a million- peopled city
Vomits smoke in the bright air.
Mark that outcry of despair !
'Tis his mild and gentle ghost

Wailing for the faith he kindled :
Look again, the flames almost

To a glow-worm's lamp have dwindled :
The survivors round the embers

Gather in dread. 560

Joy, joy, joy !

Past ages crowd on thee, but each one remembers,
And the future is dark, and the present is spread
Like a pillow of thorns for thy slumberless head.

SEMICHORUS I.

Drops of bloody agony flow

From his white and quivering brow.

Grant a little respite now :

See a disenchanted nation

Springs like day from desolation ;

To Truth its state is dedicate, 570

And Freedom leads it forth, her mate ;

Acri.J PROMETHEUS UNBOUND. 35

A legioned band of linked brothers
Whom Love calls children —

SEMICHORUS II.

Tis another's :

See how kindred murder kin :
'Tis the vintage-time for death and sin :
Blood, like new wine, bubbles within :

Till Despair smothers
The struggling world, which slaves and tyrants win.

\Att the FURIES vanish except one.

lONE.

Hark, sister ! what a low yet dreadful groan,

Quite unsuppressed is tearing up the heart 580

Of the good Titan, as storms tear the deep,

And beasts hear the sea moan in inland caves.

Barest thou observe how the fiends torture him?

PANTHEA.
Alas ! I looked forth twice, but will no more.

IONE.
What didst thou see ?

PANTHEA.

A woful sight : a youth
With patient looks nailed to a crucifix.

IONE.
What next ?

36 PROMETHEUS UNBOUND. [ACT i.

PANTHEA.

The heaven around, the earth below
Was peopled with thick shapes of human death,
All horrible, and wrought by human hands,
And some appeared the work of human hearts, 590

For men were slowly killed by frowns and smiles :
And other sights too foul to speak and live
Were wandering by. Let us not tempt worse fear
By looking forth : those groans are grief enough.

FURY.

Behold an emblem : those who do endure

Deep wrongs for man, and scorn, and chains, but heap

Thousandfold torment on themselves and him.

PROMETHEUS.

Remit the anguish of that lighted stare ;

Close those wan lips ; let that thorn-wounded brow

Stream not with blood ; it mingles with thy tears ! 600

Fix, fix those tortured orbs in peace and death,

So thy sick throes shake not that crucifix,

So those pale fingers play not with thy gore.

O, horrible ! Thy name I will not speak,

It hath become a curse. I see, I see

The wise, the mild, the lofty, and the just,

Whom thy slaves hate for being like to thee,

Some hunted by foul lies from their heart's home,

An early-chosen, late-lamented home ;

As hooded ounces cling to the driven hind ; 610

Some linked to corpses in unwholesome cells :

ACT I.] PROMETHEUS UNBOUND. 37

Some — Hear I not the multitude laugh loud ? —
Impaled in lingering fire : and mighty realms
Float by my feet, like sea-uprooted isles,
Whose sons are kneaded down in common blood
By the red light of their own burning homes.

FURY.

Blood thou canst see, and fire ; and canst hear groans ;
Worse things, unheard, unseen, remain behind.

PROMETHEUS.
Worse?

FURY.

In each human heart terror survives

The ruin it has gorged : the loftiest fear 620

All that they would disdain to think were true :
Hypocrisy and custom make their minds
The fanes of many a worship, now outworn.
They dare not devise good for man's estate,
And yet they know not that they do not dare.
The good want power, but to weep barren tears.
The powerful goodness want : worse need for them.
The wise want love ; and those who love want wisdom ;
And all best things are thus confused to ill.
Many are strong and rich, and would be just, 630

But live among their suffering fellow-men
As if none felt : they know not what they do.

PROMETHEUS.

Thy words are like a cloud of winged snakes ;
And yet I pity those they torture not.

38 PROMETHEUS UNBOUND. [ACT i.

FURY.
Thou pitiest them ? I speak no more ! [ Vanishes,

PROMETHEUS.

Ah woe !

Ah woe ! Alas ! pain, pain ever, for ever !
I close my tearless eyes, but see more clear
Thy works within my woe-illumed mind,
Thou subtle tyrant ! Peace is in the grave.
The grave hides all things beautiful and good : 640

I am a God and cannot find it there,
Nor would I seek it : for, though dread revenge,
This is defeat, fierce king, not victory.
The sights with which thou torturest gird my soul
With new endurance, till the hour arrives
When they shall be no types of things which are.

PANTHEA.
Alas ! what sawest thou ?

PROMETHEUS.

There are two woes ;

To speak, and to behold ; thou spare me one.
Names are there, Nature's sacred watchwords, they
Were borne aloft in bright emblazonry ; 650

The nations thronged around, and cried aloud,
As with one voice, Truth, liberty, and love !
Suddenly fierce confusion fell from heaven
Among them : there was strife, deceit, and fear :
Tyrants rushed in, and did divide the spoil.
This was the shadow of the truth I saw.

ACT i.] PROMETHEUS UNBOUND. 39

THE EARTH.

I felt thy torture, son, with such mixed joy

As pain and virtue give. To cheer thy state

I bid ascend those subtle and fair spirits,

Whose homes are the dim caves of human thought, 660

And who inhabit, as birds wing the wind,

Its world-surrounding aether : they behold

Beyond that twilight realm, as in a glass,

The future : may they speak comfort to thee !

PANTHEA.

Look, sister, where a troop of spirits gather,

Like flocks of clouds in spring's delightful weather,

Thronging in the blue air !

TONE.

And see ! more come,

Like fountain- vapours when the winds are dumb,
That climb up the ravine in scattered lines.
And, hark ! is it the music of the pines ? 670

Is it the lake ? Is it the waterfall ?

PANTHEA.
Tis something sadder, sweeter far than all.

CHORUS OF SPIRITS.
From unremembered ages we
Gentle guides and guardians be
Of heaven-oppressed mortality ;
And we breathe, and sicken not,
The atmosphere of human thought :

40 PROMETHEUS UNBOUND. [ACT i.

Be it dim, and dank, and grey,
Like a storm-extinguished day,
Travelled o'er by dying gleams ; 680

Be it bright as all between
Cloudless skies and windless streams,

Silent, liquid, and serene ;
As the birds within the wind,

As the fish within the wave,
As the thoughts of man's own mind

Float thro' all above the grave ;
We make there our liquid lair,
Voyaging cloudlike and unpent
Thro' the boundless element : 690

Thence we bear the prophecy
Which begins and ends in thee !

IONE.

More yet come, one by one : the air around them
Looks radiant as the air around a star.

FIRST SPIRIT.

On a battle-trumpet's blast

I fled hither, fast, fast, fast,

'Mid the darkness upward cast.

From the dust of creeds outworn,

From the tyrant's banner torn,

Gathering 'round me, onward borne, 700

There was mingled many a cry —

Freedom ! Hope ! Death ! Victory !

Till they faded thro' the sky ;

And one sound, above, around,

ACT I.] PROMETHEUS UNBOUND. 41

One sound, beneath, around, above,
Was moving ; 'twas the soul of love ;
'Twas the hope, the prophecy,
Which begins and ends in thee.

SECOND SPIRIT.

A rainbow's arch stood on the sea

Which rocked beneath, immovably ; 710

And the triumphant storm did flee,

Like a conqueror, swift and proud,

Between, with many a captive cloud,

A shapeless, dark and rapid crowd,

Each by lightning riven in half :

I heard the thunder hoarsely laugh :

Mighty fleets were strewn like chaff

And spread beneath a hell of death

O'er the white waters. I alit

On a great ship lightning- split, 720

And speeded hither on the sigh

Of one who gave an enemy

His plank, then plunged aside to die.

THIRD SPIRIT.

I sate beside a sage's bed,

And the lamp was burning red

Near the book where he had fed,

When a Dream with plumes of flame,

To his pillow hovering came,

And I knew it was the same

Which had kindled long ago 730..

Pity, eloquence, and woe ;

42 PROMETHEUS UNBOUND. [ACT i.

And the world awhile below
Wore the shade, its lustre made.
It has borne me here as fleet
As Desire's lightning feet :
I must ride it back ere morrow,
Or the sage will wake in sorrow.

FOURTH SPIRIT.

On a poet's lips I slept

Dreaming like a love-adept

In the sound his breathing kept ; 740

Nor seeks nor finds he mortal blisses,

But feeds on the aerial kisses

Of shapes that haunt thought's wildernesses.

He will watch from dawn to gloom

The lake-reflected sun illume

The yellow bees in the ivy-bloom,

Nor heed nor see what things they be ;

But from these create he can

Forms more real than living man,

Nurslings of immortality ! 750

One of these awakened me,

And I sped to succour thee.

IONE.

Behold'st thou not two shapes from the east and west

Come, as two doves to one beloved nest,

Twin nurslings of the all-sustaining air

On swift still wings glide down the atmosphere ?

And, hark ! their sweet, sad voices ! 'tis despair

Mingled with love, and then dissolved in sound.

ACT I.] PROMETHEUS UNBOUND. 43

PANTHEA.
Canst thou speak, sister ? all my words are drowned.

IONE.

Their beauty gives me voice. See how they float 760

On their sustaining wings of skiey grain,
Orange and azure deepening into gold :
Their soft smiles light the air like a star's fire.

CHORUS OF SPIRITS.
Hast thou beheld the form of Love ?

FIFTH SPIRIT.

As over wide dominions
I sped, like some swift cloud that wings the wide air's

wildernesses,
That planet-crested shape swept by on lightning-braided

pinions,
Scattering the liquid joy of life from his ambrosial

tresses :
His footsteps paved the world with light; but as I

passed 'twas fading,
And hollow Ruin yawned behind : great sages bound in

madness,
And headless patriots, and pale youths who perished,

unupbraiding, 770

Gleamed in the night. I wandered o'er, till thou, O

King of sadness,
Turned by thy smile the worst I saw to recollected «

gladness.

44 PROMETHEUS UNBOUND. [ACT I.

SIXTH SPIRIT.

Ah, sister ! Desolation is a delicate thing :
It walks not on the earth, it floats not on the air,
But treads with killing footstep, and fans with silent

wing
The tender hopes which in their hearts the best and

gentlest bear ;
Who, soothed to false repose by the fanning plumes

above

And the music-stirring motion of its soft and busy feet,
Dream visions of aerial joy, and call the monster, Love,
And wake, and find the shadow Pain, as he whom now

we greet. 780

CHORUS.

Tho' Ruin now Love's shadow be,

Following him, destroyingly,

On Death's white and winged steed,

Which the fleetest cannot flee,

Trampling down both flower and weed,

Man and beast, and foul and fair,

Like a tempest thro' the air ;

Thou shalt quell this horseman grim,

Woundless though in heart or limb.

PROMETHEUS.
Spirits ! how know ye this shall be ? 790

CHORUS.

In. the atmosphere we breathe,
As buds grow red when the snow-storms flee,
From spring gathering up beneath,

ACT I.] PROMETHEUS UNBOUND. 45

Whose mild winds shake the elder brake,
And the wandering herdsmen know
That the white-thorn soon will blow :
Wisdom, Justice, Love, and Peace,
When they struggle to increase,

Are to us as soft winds be

To shepherd-boys, the prophecy 800

Which begins and ends in thee.

IONE.
Where are the Spirits fled ?

PANTHEA..

Only a sense

Remains of them, like the omnipotence
Of music, when the inspired voice and lute
Languish, ere yet the responses are mute,
Which thro' the deep and labyrinthine soul,
Like echoes thro' long caverns, wind and roll.

PROMETHEUS.

How fair these air-born shapes ! And yet I feel

Most vain all hope but love ; and thou art far,

Asia ! who, when my being overflowed, 810

Wert like a golden chalice to bright wine

Which else had sunk into the thirsty dust.

All things are still : alas ! how heavily

This quiet morning weighs upon my heart ;

Tho' I should dream I could even sleep with grief

If slumber were denied not. I would fain

Be what it is my destiny to be,

46 . PROMETHEUS UNBOUND. [ACT I.]

The saviour and the strength of suffering man,

Or sink into the original gulph of things :

There is no agony, and no solace left ; 820

Earth can console, Heaven can torment no more.

PANTHEA.

Hast thou forgotten one who watches thee
The cold dark night, and never sleeps but when
The shadow of thy spirit falls on her ?

PROMETHEUS.
I said all hope was vain but love : thou lovest.

PANTHEA.

Deeply in truth; but the eastern star looks white,

And Asia waits in that far Indian vale

The scene of her sad exile ; rugged once

And desolate and frozen, like this ravine ;

But now invested with fair flowers and herbs, 830

And haunted by sweet airs and sounds, which flow

Among the woods and waters, from the aether

Of her transforming presence, which would fade

If it were mingled not with thine. Farewell !

ACT II.

SCENE I. — Morning. A lovely Vale in the Indian Caucasus,
ASIA alone.

ASIA.

From all the blasts of heaven thou hast descended :

Yes, like a spirit, like a thought, which makes

Unwonted tears throng to the horny eyes,

And beatings haunt the desolated heart,

Which should have learnt repose : thou hast descended,

Cradled in tempests ; thou dost wake, O Spring !

O child of many winds ! As suddenly

Thou comest as the memory of a dream,

Which now is sad because it hath been sweet ;

Like genius, or like joy which riseth up 10

As from the earth, clothing with golden clouds

The desart of our life.

This is the season, this the day, the hour ;

At sunrise thou shouldst come, sweet sister mine,

Too long desired, too long delaying, come !

How like death-worms the wingless moments crawl ! ,

The point of one white star is quivering still

Deep in the orange light of widening morn

Beyond the purple mountains : thro' a chasm

Of wind-divided mist the darker lake 20

Reflects it : now it wanes : it gleams again

47

48 PROMETHEUS UNBOUND. [ACT n.

As the waves fade, and as the burning threads

Of woven cloud unravel in pale air :

Tis lost ! and through yon peaks of cloud-like snow

The roseate sunlight quivers : hear I not

The ^Eolian music of her sea-green plumes

Winnowing the crimson dawn? [PANTHEA enters.

I feel, I see

Those eyes which burn thro' smiles that fade in tears,
Like stars half quenched in mists of silver dew.
Beloved and most beautiful, who wearest 30

The shadow of that soul by which I live,
How late thou art ! the sphered sun had climbed
The sea ; my heart was sick with hope, before
The printless air felt thy belated plumes.

PANTHEA.

Pardon, great Sister ! but my wings were faint

With the delight of a remembered dream,

As are the noontide plumes of summer winds

Satiate with sweet flowers. I was wont to sleep

Peacefully, and awake refreshed and calm

Before the sacred Titan's fall, and thy 40

Unhappy love, had made, thro' use and pity,

Both love and woe familiar to my heart

As they had grown to thine : erewhile I slept

Under the glaucous caverns of old Ocean

Within dim bowers of green and purple moss,

Our young Tone's soft and milky arms

Locked then, as now, behind my dark moist hair,

While my shut eyes and cheek were pressed within

The folded depth of her life-breathing bosom :

SCENE i.] PROMETHEUS UNBOUND. 49

But not as now, since I am made the wind 50

Which fails beneath the music that I bear

Of thy most wordless converse ; since dissolved

Into the sense with which love talks, my rest

Was troubled and yet sweet ; my waking hours

Too full of care and pain.

ASIA.

Lift up thine eyes,
And let me read thy dream.

PANTHEA.

As I have said

With our sea-sister at his feet I slept.
The mountain mists, condensing at our voice
Under the moon, had spread their snowy flakes,
From the keen ice shielding our linked sleep. 60

Then two dreams came. One, I remember not.
But in the other his pale wound-worn limbs
Fell from Prometheus, and the azure night
Grew radiant with the glory of that form
Which lives unchanged within, and his voice fell
Like music which makes giddy the dim brain,
Faint with intoxication of keen joy :
" Sister of her whose footsteps pave the world
With loveliness — more fair than aught but her
Whose shadow thou art — lift thine eyes on me." 70

I lifted them : the overpowering light
Of that immortal shape was shadowed o'er
By love ; which, from his soft and flowing limbs,
And passion-parted lips, and keen, faint eyes,
Steamed forth like vaporous fire ; an atmosphere

50 PROMETHEUS UNBOUND, [ACT n.

Which wrapped me in its all-dissolving power,

As the warm aether of the morning sun

Wraps ere it drinks some cloud of wandering dew.

I saw not, heard not, moved not, only felt

His presence flow and mingle thro' my blood 80

Till it became his life, and his grew mine,

And I was thus absorbed, until it past,

And like the vapours when the sun sinks down,

Gathering again in drops upon the pines,

And tremulous as they, in the deep night

My being was condensed ; and, as the rays

Of thought were slowly gathered, I could hear

His voice, whose accents lingered ere they died

Like footsteps of weak melody : thy name

Among the many sounds alone I heard 90

Of what might be articulate ; tho' still

I listened through the night when sound was none.

lone wakened then, and said to me :

" Canst thou divine what troubles me to-night?

" I always knew what I desired before,

" Nor ever found delight to wish in vain.

" But now I cannot tell thee what I seek ;

" I know not ; something sweet, since it is sweet

" Even to desire ; it is thy sport, false sister ;

" Thou hast discovered some enchantment old, 100

" Whose spells have stolen my spirit as I slept

" And mingled it with thine : for when just now

" We kissed, I felt within thy parted lips

" The sweet air that sustained me, and the warmth

" Of the life-blood, for loss of which I faint,

" Quivered between our intertwining arms."

SCENE I.] PROMETHEUS UNBOUND. 51

I answered not, for the Eastern star grew pale,
But fled to thee.

ASIA.

Thou speakest, but thy words
Are as the air : I feel them not : Oh, lift
Thine eyes, that I may read his written soul ! no

PANTHEA.

I lift them tho' they droop beneath the load

Of that they would express : what canst thou see

But thine own fairest shadow imaged there ?

ASIA.

Thine eyes are like the deep, blue, boundless heaven
Contracted to two circles underneath
Their long fine lashes ; dark, far, measureless,
Orb within orb, and line thro' line inwoven.

PANTHEA.
Why lookest thou as if a spirit past?

ASIA.

There is a change : beyond their inmost depth

I see a shade, a shape : 'tis He, arrayed 120

In the soft light of his own smiles, which spread

Like radiance from the cloud-surrounded moon.

Prometheus, it is thine ! Depart not yet !

Say not those smiles that we shall meet again

Within that bright pavilion which their beams

Shall build on the waste world? The dream is told.

52 PROMETHEUS UNBOUND. [ACT n.

What shape is that between us ? Its rude hair
Roughens the wind that lifts it, its regard
"is wild and quick, yet 'tis a thing of air,
For thro' its grey robe gleams the golden dew 130

Whose stars the noon has quenched not.

DREAM.

Follow ! follow !

PANTHEA.
It is mine other dream.

ASIA.
It disappears.

PANTHEA.

It passes now into my mind. Methought

As we sate here, the flower-infolding buds

Burst on yon lightning-blasted almond-tree,

When swift from the white Scythian wilderness

A wind swept forth wrinkling the earth with frost :

I looked, and all the blossoms were blown down ;

But on each leaf was stamped, as the blue bells

Of Hyacinth tell Apollo's written grief, 140

O, FOLLOW, FOLLOW !

ASIA.

As you speak, your words
Fill, pause by pause, my own forgotten sleep
With shapes. Methought among the lawns together
We wandered, underneath the young grey dawn,
And multitudes of dense white fleecy clouds
Were wandering in thick flocks along the mountains
Shepherded by the slow, unwilling wind ;

SCENE i.] PROMETHEUS UNBOUND. 53

And the white dew on the new bladed grass,

Just piercing the dark earth, hung silently :

And there was more which I remember not : 150

But on the shadows of the morning clouds,

Athwart the purple mountain slope, was written

FOLLOW, O, FOLLOW ! as they vanished by,

And on each herb, from which Heaven's dew had fallen,

The like was stamped, as with a withering fire,

A wind arose among the pines ; it shook

The clinging music from their boughs, and then

Low, sweet, faint sounds, like the farewell of ghosts,

Were heard : O, FOLLOW, FOLLOW, FOLLOW ME !

And then I said : " Panthea, look on me." 160

But in the depth of those beloved eyes

Still I saw, FOLLOW, FOLLOW !

ECHO.

Follow, follow !

PANTHEA.

The crags, this clear spring morning, mock our voices
As they were spirit-tongued.

ASIA.

It is some being
Around the crags. What fine clear sounds ! O, list !

ECHOES (unseen).
Echoes we : listen !
We cannot stay :
As dew-stars glisten
Then fade away —

Child of Ocean ! 170"

54 PROMETHEUS UNBOUND. [ACT n.

ASIA.

Hark ! Spirits speak. The liquid responses
Of their aerial tongues yet sound.

PANTHEA.

I hear.
ECHOES.
O, follow, follow,

As our voice recedeth
Thro' the caverns hollow,
Where the forest spreadeth ;

(More distant.)
O, follow, follow !
Thro' the caverns hollow,
As the song floats thou pursue,
Where the wild bee never flew, 180

Thro' the noon-tide darkness deep,
By the odour-breathing sleep
Of faint night flowers, and the waves
At the fountain-lighted caves,
While our music, wild and sweet,
Mocks thy gently falling feet,
Child of Ocean !

ASIA.

Shall we pursue the sound ? It grows more faint
And distant.

PANTHEA.
List ! the strain floats nearer now.

SCENE ii.] PROMETHEUS UNBOUND. 55

ECHOES.
In the world unknown 190

Sleeps a voice unspoken ;
By thy step alone

Can its rest be broken ;
Child of Ocean !

ASIA.
How the notes sink upon the ebbing wind !

ECHOES.

O, follow, follow,
Thro' the caverns hollow,
As the song floats thou pursue,
By the woodland noon-tide dew ;
By the forests, lakes, and fountains 200

Thro' the many-folded mountains ;
To the rents and gulphs, and chasms,
Where the Earth reposed from spasms,
On the day when He and thou
Parted, to commingle now ;
Child of Ocean !

ASIA.

Come, sweet Panthea, link thy hand in mine,
And follow, ere the voices fade away.

SCENE II. — A Forest, intermingled with Rocks and Caverns.
ASIA and PANTHEA pass into it. Two young Fauns are
sitting on a Rock, listening.

SEMICHORUS I. OF SPIRITS.
The path thro' which that lovely twain

Have past, by cedar, pine, and yew, aio

56 PROMETHEUS UNBOUND. [ACT n.

And each dark tree that ever grew,

Is curtained out from Heaven's wide blue ;
Nor sun, nor moon, nor wind, nor rain,
Can pierce its interwoven bowers,

Nor aught, save where some cloud of dew,
Drifted along the earth-creeping breeze,
Between the trunks of the hoar trees,

Hangs each a pearl in the pale flowers

Of the green laurel, blown anew ;
And bends, and then fades silently, 220

One frail and fair anemone :
Or when some star of many a one
That climbs and wanders thro' steep night,
Has found the cleft thro' which alone
Beams fall from high those depths upon
Ere it is borne away, away,
By the swift Heavens that cannot stay,
It scatters drops of golden light,
Like lines of rain that ne'er unite :
And the gloom divine is all around ; 230

And underneath is the mossy ground.

SEMICHORUS II.

There the voluptuous nightingales,

Are awake thro' all the broad noonday.
When one with bliss or sadness fails,

And thro' the windless ivy-boughs,
Sick with sweet love, droops dying away
On its mate's music-panting bosom ;
Another from the swinging blossom,
Watching to catch the languid close

SCENE ii.] PROMETHEUS UNBOUND. 57

Of the last strain, then lifts on high 240

The wings of the weak melody,
Till some new strain of feeling bear

The song, and all the woods are mute ;
When there is heard thro' the dim air
The rush of wings, and rising there

Like many a lake-surrounded flute,
Sounds overflow the listener's brain
So sweet, that joy is almost pain.

SEMICHORUS I.

There those enchanted eddies play

Of echoes, music-tongued, which draw, 250

By Demogorgon's mighty law,

With melting rapture, or sweet awe,
All spirits on that secret way ;

As inland boats are driven to Ocean
Down streams made strong with mountain-thaw :
And first there comes a gentle sound
To those in talk or slumber bound,

And wakes the destined. Soft emotion
Attracts, impels them : those who saw

Say from the breathing earth behind 260

There steams a plume-uplifting wind
Which drives them on their path, while they

Believe their own swift wings and feet
The sweet desires within obey :
And so they float upon their way,
Until, still sweet, but loud and strong,
The storm of sound is driven along,

58 PROMETHEUS UNBOUND. [ACT n.

Sucked up and hurrying : as they fleet

Behind, its gathering billows meet
And to the fatal mountain bear 270

Like clouds amid the yielding air.

FIRST FAUN.

Canst thou imagine where those spirits live
Which make such delicate music in the woods?
We haunt within the least frequented caves
And closest coverts, and we know these wilds,
Yet never meet them, tho' we hear them oft :
Where may they hide themselves?

SECOND FAUN.

Tis hard to tell :

I have heard those more skilled in spirits say,
The bubbles, which the enchantment of the sun
Sucks from the pale faint water-flowers that pave 280

The oozy bottom of clear lakes and pools,
Are the pavilions where such dwell and float
Under the green and golden atmosphere
Which noon-tide kindles thro' the woven leaves ;
And when these burst, and the thin fiery air,
The which they breathed within those lucent domes,
Ascends to flow like meteors thro' the night,
They ride on them, and rein their headlong speed,
And bow their burning crests, and glide in fire
Under the waters of the earth again. 290

FIRST FAUN.

If such live thus, have others other lives,
Under pink blossoms or within the bells

SCENE HI.] PROMETHEUS UNBOUND. 59

Of meadow flowers, or folded violets deep,
Or on their dying odours, when they die,
Or in the sunlight of the sphered dew ?

SECOND FAUN.

Aye, many more which we may well divine.

But, should we stay to speak, noon-tide would come,

And thwart Silenus find his goats undrawn,

And grudge to sing those wise and lovely songs

Of fate, and chance, and God, and Chaos old, 300

And Love, and the chained Titan's woful doom,

And how he shall be loosed, and make the earth

One brotherhood : delightful strains which cheer

Our solitary twilights, and which charm

To silence the unenvying nightingales.

SCENE III. — A Pinnacle of Rock among Mountains. ASIA
and PANTHEA.

PANTHEA.

Hither the sound has borne us — to the realm

Of Demogorgon, and the mighty portal,

Like a volcano's meteor-breathing chasm,

Whence the oracular vapour is hurled up

Which lonely men drink wandering in their youth, 310

And call truth, virtue, love, genius, or joy,

That maddening wine of life, whose dregs they drain

To deep intoxication ; and uplift

Like Maenads who cry loud, Evoe ! Evoe !

The voice which is contagion to the world.

60 PROMETHEUS UNBOUND. [ACT n.

ASIA.

Fit throne for such a Power ! Magnificent !
How glorious art thou, Earth ! And, if thou be
The shadow of some spirit lovelier still,
Though evil stain its work, and it should be
Like its creation, weak yet beautiful, 320

I could fall down and worship that and thee.
Even now my heart adoreth : Wonderful !
Look, sister, ere the vapour dim thy brain :.
Beneath is a wide plain of billowy mist,
As a lake, paving in the morning sky,
With azure waves which burst in silver light,
Some Indian vale. Behold it, rolling on
Under the curdling winds, and islanding
The peak whereon we stand, midway, around,
Encinctured by the dark and blooming forests, 330

Dim twilight-lawns, and stream-illumined caves,
And wind-enchanted shapes of wandering mist ;
And far on high the keen sky-cleaving mountains
From icy spires of sun-like radiance fling
The dawn, as lifted Ocean's dazzling spray,
From some Atlantic islet scattered up,
Spangles the wind with lamp-like water-drops.
The vale is girdled with their walls, a howl
Of cataracts from their thaw-cloven ravines
Satiates the listening wind, continuous, vast, 340

Awful as silence. Hark ! the rushing snow !
The sun-awakened avalanche ! whose mass,
Thrice sifted by the storm, had gathered there
Flake after flake, in heaven-defying minds
As thought by thought is piled, till some great truth

SCENE in.] PROMETHEUS UNBOUND. 61

Is loosened, and the nations echo round,
Shaken to their roots, as do the mountains now.

PANTHEA.

Look how the gusty sea of mist is breaking

In crimson foam, even at our feet ! it rises

As Ocean at the enchantment of the moon 350

Round foodless^nen wrecked on some oozy isle.

ASIA.

The fragments of the cloud are scattered up ;
The wind that lifts them disentwines my hair ;
Its billows now sweep o'er mine eyes ; my brain
Grows dizzy ; I see thin shapes within the mist.

PANTHEA.

A countenance with beckoning smiles : there burns
An azure fire within its golden locks !
Another and another : hark ! they speak !

SONG OF SPIRITS.

To the deep, to the deep,

Down, down ! 360

Through the shade of sleep,
Through the cloudy strife
Of Death and of Life ;

Through the veil and the bar

•*>»

Of things which seem and are
Even to the steps of the remotest throne,
Down, down !

62. PROMETHEUS UNBOUND. [ACT 11.

While the sound whirls around

Down, down !

As the fawn draws the hound, 370

As the lightning the vapour,
As a weak moth the taper ;
Death, despair ; love, sorrow ;
Time, both ; to-day, to-morrow ;
As steel obeys the spirit of the stone,

Down, down !

Through the grey, void abysm,

Down, down !
Where the air is no prism,

And the moon and stars are not, 380

And the cavern-crags wear not
The radiance of Heaven
Nor the gloom to Earth given,
Where there is one pervading, one alone,

Down, down !

In the depth of the deep,

Down, down !

Like veiled lightning asleep,
Like the spark nursed in embers,
The last look Love remembers, 390

Like a diamond, which shines
On the dark wealth of mines,
A spell is treasured but for thee alone.

Down, down !

We have bound thee, we guide thee j
Down, down !

SCENE iv.] PROMETHEUS UNBOUND. 63

With the bright form beside thee ;
Resist not the weakness,
§uch strength is in meekness

That the Eternal, the Immortal, 4°°

Must unloose through life's portal
The snake-like Doom coiled underneath his
throne

By that alone.

SCENE IV. — The Cave of DEMOGORGON. ASIA and PANTHEA.

PANTHEA.
What veiled form sits on that ebon throne ?

ASIA.
The veil has fallen.

PANTHEA.

I see a mighty darkness
Filling the seat of power, and rays of gloom
Dart round, as light from the meridian sun,
Ungazed upon and shapeless ; neither limb,
Nor form, nor outline ; yet we feel it is
A living Spirit.

DEMOGORGON.
Ask what thou wouldst know. 410

ASIA.
What canst thou tell?

DEMOGORGON.
All things thou dar'st demand.

64 PROMETHEUS UNBOUND. [ACT n.

ASIA.
Who made the living world ?

DEMOGORGON.
God.

ASIA.

Who made all

That it contains ? thought, passion, reason, will,
Imagination ?

DEMOGORGON.
God : Almighty God.

ASIA.

Who made that sense which, when the winds of spring
In rarest visitation, or the voice
Of one beloved heard in youth alone,
Fills the faint eyes with falling tears which dim
The radiant looks of unbewailing flowers,
And leaves this peopled earth a solitude 420

When it returns no more ?

DEMOGORGON.

Merciful God.
ASIA.

And who made terror, madness, crime, remorse,
Which from the links of the great chain of things,
To every thought within the mind of man
Sway and drag heavily, and each one reels
Under the load towards the pit of death ;
Abandoned hope, and love that turns to hate ;

SCENE iv.] PROMETHEUS UNBOUND. 65

And self-contempt, bitterer to drink than blood ;

Pain, whose unheeded and familiar speech

Is howling, and keen shrieks, day after day ; 430

And Hell, or the sharp fear of Hell ?

DEMOGORGON.

He reigns.

ASIA.

Utter his name : a world pining in pain
Asks but his name : curses shall drag him down.

DEMOGORGON.

He reigns.
ASIA.
I feel, I know it : who ?

DEMOGORGON.

He reigns.

ASIA.

Who reigns? There was the Heaven and Earth at first,
And Light and Love ; then Saturn, from whose throne
Time fell, an envious shadow : such the state
Of the earth's primal spirits beneath his sway,
As the calm joy of flowers and living leaves
Before the wind or sun has withered them 440

And semivital worms ; but he refused
The birthright of their being, knowledge, power,
The skill which wields the elements, the thought
Which pierces this dim universe like light,
Self-empire, and the majesty of love ;
For thirst of which they fainted. Then Prometheus

66 PROMETHEUS UNBOUND. [ACT n.

Gave wisdom, which is strength, to Jupiter,

And, with this law alone, ' Let man be free,'

Clothed him with the dominion of wide Heaven.

To know nor faith, nor love, nor law ; to be 450

Omnipotent but friendless is to reign ;

And Jove now reigned ; for on the race of man

First famine, and then toil, and then disease,

Strife, wounds, and ghastly death unseen before,

Fell ; and the unseasonable seasons drove

With alternating shafts of frost and fire,

Their shelterless, pale tribes to mountain-caves :

And in their desert hearts fierce wants he sent,

And mad disquietudes, and shadows idle

Of unreal good, which levied mutual war, 460

So ruining the lair wherein they raged.

Prometheus saw, and waked the legioned hopes

Which sleep within folded Elysian flowers,

Nepenthe, Moly, Amaranth, fadeless blooms,

That they might hide with thin and rainbow wings

The shape of Death ; and Love he sent to bind

The disunited tendrils of that vine

Which bears the wine of life, the human heart ;

And he tamed fire which, like some beast of prey,

Most terrible, but lovely, played beneath 470

The frown of man ; and tortured to his will

Iron and gold, the slaves and signs of power,

And gems and poisons, and all subtlest forms

Hidden beneath the mountains and the waves.

He gave man speech, and speech created thought,

Which is the measure of the universe ;

And science struck the thrones of earth and heaven,

SCENE iv.] PROMETHEUS UNBOUND. 67

Which shook, but fell not ; and the harmonious mind

Amred itself forth in all-prophetic song ;

And music lifted up the listening spirit 480

Until it walked, exempt from mortal care,

Godlike, o'er the clear billows of sweet sound ;

And human hands first mimicked and then mocked,

With moulded limbs more lovely than its own,

The human form, till marble grew divine ;

And mothers, gazing, drank the love men see

Reflected in their race, behold, and perish.

He told the hidden power of herbs and springs,

And Disease drank and slept. Death grew like sleep.

He taught the implicated orbits woven 490

Of the wide-wandering stars ; and how the sun

Changes his lair, and by what secret spell

The pale moon is transformed, when her broad eye

Gazes not on the interlunar sea :

He taught to rule, as life directs the limbs,

The tempest-winged chariots of the Ocean,

And the Celt knew the Indian. Cities then

Were built, and through their snow-like columns flowed

The warm winds, and the azure aether shone,

And the blue sea and shadowy hills were seen. 500

Such, the alleviations of his state,

Prometheus gave to man, for which he hangs

Withering in destined pain : but who rains down

Evil, the immedicable plague, which, while

Man looks on his creation like a God

And sees that it is glorious, drives him on

The wreck of his own will, the scorn of earth,

The outcast, the abandoned, the alone?

68 PROMETHEUS UNBOUND. [ACT n.

Not Jove : while yet his frown shook heaven, aye, when
His adversary from adamantine chains 510

Cursed him, he trembled like a slave. Declare
Who is his master ? Is he too a slave ?

DEMOGORGON.

All spirits are enslaved which serve things evil :
Thou knowest if Jupiter be such or no.

ASIA.
Whom called'st thou God?

DEMOGORGON.

I spoke but as ye speak,
For Jove is the supreme of living things.

ASIA.
Who is master of the slave ?

DEMOGORGON.

If the abysm

Could vomit forth his secrets . . . But a voice
Is wanting, the deep truth is im ageless ;
For what would it avail to bid thee gaze 520

On the revolving world? What to bid speak
Fate, Time, Occasion, Chance and Change? To these
All things are subject but eternal Love.

ASIA.

So much I asked before, and my heart gave

The response thou hast given ; and of such truths

SCENE iv.] PROMETHEUS UNBOUND. 69

Each to itself must be the oracle.

One more demand ; and do thou answer me

As my own soul would answer, did it know

That which I ask. Prometheus shall arise

Henceforth the sun of this rejoicing world : 530

When shall the destined hour arrive ?

DEMOGORGON.

Behold !

ASIA.

The rocks are cloven, and through the purple night

I see cars drawn by rainbow -winged steeds

Which trample the dim winds : in each there stands

A wild-eyed charioteer urging their flight.

Some look behind, as fiends pursued them there,

And yet I see no shapes but the keen stars :

Others, with burning eyes, lean forth, and drink

With eager lips the wind of their own speed,

As if the thing they loved fled on before, 540

And now, even now, they clasped it. Their bright locks

Stream like a comet's flashing hair : they all

Sweep onward.

DEMOGORGON.

These are the immortal Hours,
Of whom thou didst demand. One waits for thee.

ASIA.

A spirit with a dreadful countenance

Checks its dark chariot by the craggy gulph.

Unlike thy brethren, ghastly charioteer,

Who art thou ? Whither wouldst thou bear me ? Speak !

70 PROMETHEUS UNBOUND. [ACT n.

SPIRIT.

I am the shadow of a destiny

More dread than is my aspect : ere yon planet 550

Has set, the darkness which ascends with me
Shall wrap in lasting night heaven's kingless throne.

ASIA.
What meanest thou?

PANTHEA.

That terrible shadow floats
Up from its throne, as may the lurid smoke
Of earthquake-ruined cities o'er the sea.
Lo ! it ascends the car ; the coursers fly
Terrified : watch its path among the stars
Blackening the night !

ASIA.
Thus I am answered : strange !

PANTHEA.

See, near the verge, another chariot stays ;
An ivory shell inlaid with crimson fire, 560

Which comes and goes within its sculptured rim
Of delicate strange tracery ; the young spirit
That guides it has the dove-like eyes of hope ;
How its soft smiles attract the soul ! as light
Lures winged insects through the lampless air.

SPIRIT.

My coursers are fed with the lightning,
They drink of the whirlwind's stream,
And when the red morning is bright'ning

SCENE v.] PROMETHEUS UNBOUND. 71

They bathe in the fresh sunbeam ;
They have strength for their swiftness I deem, 570
Then ascend with me, daughter of Ocean.

I desire : and their speed makes night kindle ;
I fear : they outstrip the Typhoon ;

Ere the cloud piled on Atlas can dwindle
We encircle the earth and the moon :
We shall rest from long labours at noon :

Then ascend with me, daughter of Ocean.

SCENE V. — TJie Car pauses within a Cloud on the Top of a
snowy Mountain. ASIA, PANTHEA, and the SPIRIT OF THE
HOUR.

SPIRIT.
On the brink of the night and the morning

My coursers are wont to respire ;

But the Earth has just whispered a warning 580

That their flight must be swifter than fire :
They shall drink the hot speed of desire !

ASIA.

Thou breathest on their nostrils, but my breath
Would give them swifter speed.

SPIRIT.

Alas ! it could not.

PANTHEA.

Oh Spirit ! pause, and tell whence is the light
Which fills the cloud ? The sun is yet unrisen.

72 PROMETHEUS UNBOUND. [ACT n.

SPIRIT.

The sun will rise not until noon. Apollo

Is held in heaven by wonder ; and the light

Which fills this vapour, as the aerial hue

Of fountain-gazing roses fills the water, 590

Flows from thy mighty sister.

PANTHEA.

Yes, I feel —
ASIA.
What is it with thee, sister ? Thou art pale.

PANTHEA.

How thou art changed ! I dare not look on thee ;

I feel but see thee not. I scarce endure

The radiance of thy beauty. Some good change

Is working in the elements, which suffer

Thy presence thus unveiled. The Nereids tell

That on the day when the clear hyaline

Was cloven at thy uprise, and thou didst stand

Within a veined shell, which floated on 600

Over the calm floor of the crystal sea,

Among the yEgean isles, and by the shores

Which bear thy name ; love, like the atmosphere

Of the sun's fire filling the living world,

Burst from thee, and illumined earth and heaven

And the deep ocean and the sunless caves

And all that dwells within them ; till grief cast

Eclipse upon the soul from which it came :

Such art thou now ; nor is it I alone,

SCENE v.] PROMETHEUS UNBOUND. 73

Thy sister, thy companion, thine own chosen one, 610

But the whole world which seeks thy sympathy.

Hear'st thou not sounds i' the air which speak the love

Of all articulate beings ? Feel'st thou not

The inanimate winds enamoured of thee ? List !

[Music.
ASIA.

Thy words are sweeter than aught else but his
Whose echoes they are : yet all love is sweet,
Given or returned. Common as light is love,
And its familiar voice wearies not ever.
Like the wide heaven, the all- sustaining air,
It makes the reptile equal to the God : 620

They who inspire it most are fortunate,
As I am now ; but those who feel it most
Are happier still, after long sufferings,
As I shall soon become.

PANTHEA.
List ! Spirits speak.

VOICE in the Air, singing.

Life of Life ! thy lips enkindle

With their love the breath between them ;

And thy smiles before they dwindle

Make the cold air fire ; then screen them

In those looks, where whoso gazes

Faints, entangled in their mazes. 630

Child of Light ! thy limbs are burning

Thro' the vest which seems to hide them ;
As the radiant lines of morning

74 PROMETHEUS UNBOUND. [ACT n.

Thro" the clouds ere they divide them ;
And this atmosphere divinest
Shrouds thee wheresoe'er thou shinest.

Fair are others ; none beholds thee,
But thy voice sounds low and tender

Like the fairest, for it folds thee

From the sight, that liquid splendour, 640

And all feel, yet see thee never,

As I feel now, lost for ever !

Lamp of Earth ! where'er thou movest
Its dim shapes are clad with brightness,

And the souls of whom thou lovest
Walk upon the winds with lightness,

Till they fail, as I am failing,

Dizzy, lost, yet unbewailing !

ASIA.

My soul is an enchanted boat,

Which, like a sleeping swan, doth float 650

Upon the silver waves of thy sweet singing ;

And thine doth like an angel sit

Beside the helm conducting it,
Whilst all the winds with melody are ringing.

It seems to float ever, for ever,

Upon that many-winding river,

Between mountains, woods, abysses,

A paradise of wildernesses !
Till, like one in slumber bound,
Borne to the ocean, I float down, around, 660

Into a sea profound, of ever-spreading sound :

SCENE v.] PROMETHEUS UNBOUND. 75

Meanwhile thy spirit lifts its pinions

In music's most serene dominions ;
Catching the winds that fan that happy heaven.

And we sail on, away, afar,

Without a course, without a star,
But, by the instinct of sweet music driven ;

Till through Elysian garden islets

By thee, most beautiful of pilots,

Where never mortal pinnace glided, 670

The boat of my desire is guided :
Realms where the air we breathe is love,
Which in the winds and on the waves doth move,
Harmonizing this earth with what we feel above.

We have past Age's icy caves,

And Manhood's dark and tossing waves,
And Youth's smooth ocean, smiling to betray :

Beyond the glassy gulphs we flee

Of shadow-peopled Infancy,
Through Death and Birth, to a diviner day : 680

A paradise of vaulted bowers,

Lit by downward-gazing flowers,

And watery paths that wind between

Wildernesses calm and green,
Peopled by shapes too bright to see,
And rest, having beheld ; somewhat like thee ;
Which walk upon the sea, and chaunt melodiously !

ACT III.

SCENE I. — Heaven. JUPITER on his Throne; THETIS and
the other Deities assembled.

JUPITER.

Ye congregated powers of heaven, who share
The glory and the strength of him ye serve,
Rejoice ! henceforth I am omnipotent.
All else had been subdued to me ; alone
The soul of man, like unextinguished fire,
Yet burns towards heaven with fierce reproach, and doubt,
And lamentation, and reluctant prayer,
Hurling up insurrection, which might make
Our antique empire insecure, though built
On eldest faith, and hell's coeval, fear ; 10

And tho' my curses thro' the pendulous air,
Like snow on herbless peaks, fall flake by flake,
And cling to it ; tho' under my wrath's might
It climb the crags of life, step after step,
Which wound it, as ice wounds unsandalled feet,
It yet remains supreme o'er misery,
Aspiring, unrepressed, yet soon to fall :
Even now have I begotten a strange wonder,
That fatal child, the terror of the earth,
Who waits but till the destined hour arrive, 20

76

[SCENE i.] PROMETHEUS UNBOUND. 77

Bearing from Demogorgon's vacant throne
The dreadful might of ever-living limbs
Which clothed that awful spirit unbeheld
To redescend, and trample out the spark.

Pour forth heaven's wine, Idaen Ganymede,

And let it fill the Daedal cups like fire,

And from the flower-inwoven soil divine

Ye all-triumphant harmonies arise,

As dew from earth under the twilight stars :

Drink ! be the nectar circling thro' your veins 30

The soul of joy, ye ever- living Gods,

Till exultation burst in one wide voice

Like music from Elysian winds.

And thou

Ascend beside me, veiled in the light
Of the desire which makes thee one with me,
Thetis, bright image of eternity !
When thou didst cry, " Insufferable might !
God ! spare me ! I sustain not the quick flames,
The penetrating presence ; all my being,
Like him whom the Numidian seps did thaw 40

Into a dew with poison, is dissolved,
Sinking thro' its foundations : " even then
Two mighty spirits, mingling, made a third
Mightier than either, which, unbodied now,
Between us floats, felt, although unbeheld,
Waiting the incarnation, which ascends
(Hear ye the thunder of the fiery wheels
Griding the winds ?) from Demogorgon's throne. «w

Victory ! victory ! Feel'st thou not, O world,

78 PROMETHEUS UNBOUND. [ACT m.

The earthquake of his chariot thundering up 50

Olympus ?

\_The Car of the HOUR arrives. DEMOGORGON de-
scends, and moves towards the Throne #/" JUPITER.
Awful shape, what art thou? Speak !

DEMOGORGON.

Eternity. Demand no direr name.

Descend, and follow me down the abyss.

I am thy child, as thou wert Saturn's child ;

Mightier than thee : and we must dwell together

Henceforth in darkness. Lift thy lightnings not.

The tyranny of heaven none may retain,

Or reassume, or hold, succeeding thee :

Yet if thou wilt, as 'tis the destiny

Of trodden worms to writhe till they are dead, 60

Put forth thy might.

JUPITER.

Detested prodigy !

Even thus beneath the deep Titanian prisons
I trample thee ! thou lingerest?

Mercy ! mercy !

No pity, no release, no respite ! Oh,
That thou wouldst make mine enemy my judge,
Even where he hangs, seared by my long revenge,
On Caucasus ! he would not doom me thus.
Gentle, and just, and dreadless, is he not
The monarch of the world ? What then art thou ?
No refuge ! no appeal !

Sink with me then, 70

SCENE II. J PROMETHEUS UNBOUND. 79

We two will sink on the wide waves of ruin,

Even as a vulture and a snake outspent -

Drop, twisted in inextricable fight,

Into a shoreless sea. Let hell unlock

Its mounded oceans of tempestuous fire,

And whelm on them into the bottomless void

This desolated world, and thee, and me,

The conqueror and the conquered, and the wreck

Of that for which they combated !

Ai ! Ai !

The elements obey me not. I sink 80

Dizzily down, ever, for ever, down.
And, like a cloud, mine enemy above
Darkens my fall with victory ! Ai, Ai !

SCENE II. — The Mouth of a great River in the Island
Atlantis. OCEAN is discovered reclining near the Shore;
APOLLO stands beside him.

OCEAN.
He fell, thou sayest, beneath his conqueror's frown ?

APOLLO.

Aye, when the strife was ended which made dim
The orb I rule, and shook the solid stars,
The terrors of his eye illumined heaven
With sanguine light, through the thick ragged skirts
Of the victorious darkness, as he fell :

Like the last glare of day's red agony, 90

Which, from a rent among the fiery clouds,
Burns far along the tempest-wrinkled deep.

80 PROMETHEUS UNBOUND. [ACT in.

OCEAN.
He sunk to the abyss ? To the dark void ?

APOLLO.

An eagle so caught in some bursting cloud

On Caucasus, his thunder-baffled wings

Entangled in the whirlwind, and his eyes

Which gazed on the undazzling sun, now blinded

By the white lightning, while the ponderous hail

Beats on his struggling form, which sinks at length

Prone, and the aerial ice clings over it. too

OCEAN.

Henceforth the fields of Heaven-reflecting sea

Which are my realm, will heave, unstained with blood,

Beneath the uplifting winds, like plains of corn

Swayed by the summer air ; my streams will flow

Round many-peopled continents, and round

Fortunate isles ; and from their glassy thrones

Blue Proteus and his humid nymphs shall mark

The shadow of fair ships, as mortals see

The floating bark of the light-laden moon

With that white star, its sightless pilot's crest, no

Borne down the rapid sunset's ebbing sea ;

Tracking their path no more by blood and groans,

And desolation, and the mingled voice

Of slavery and command ; but by the light

Of wave-reflected flowers, and floating odours,

And music soft, and mild, free, gentle voices,

And sweetest music, such as spirits love.

SCENE ii.J PROMETHEUS UNBOUND. 81

APOLLO.

And I shall gaze not on the deeds which make

My mind obscure with sorrow, as eclipse

Darkens the sphere I guide ; but list, I hear 120

The small, clear, silver lute of the young Spirit

That sits i' the morning star.

OCEAN.

Thou must away ;

Thy steeds will pause at even, till when farewell :
The loud deep calls me home even now to feed it
With azure calm out of the emerald urns
Which stand for ever full beside my throne.
Behold the Nereids under the green sea,
Their wavering limbs borne on the wind-like stream,
Their white arms lifted o'er their streaming hair
With garlands pied and starry sea- flower crowns, 130

Hastening to grace their mighty sister's joy.

\_A sound of waves is heard.
It is the unpastured sea hungering for calm.
Peace, monster ; I come now. Farewell.

APOLLO.

Farewell.

82 PROMETHEUS UNBOUND. [ACT in.

SCENE III. — Caucasus. PROMETHEUS, HERCULES, IONE, the
EARTH, SPIRITS, ASIA and PANTHEA, borne in the Car with
the SPIRIT OF THE HOUR.

HERCULES unbinds PROMETHEUS, who descends.

HERCULES.

Most glorious among spirits, thus doth strength
To wisdom, courage, and long-suffering love,
And thee, who art the form they animate,
Minister like a slave.

PROMETHEUS.
Thy gentle words

Are sweeter even than freedom long desired
And long delayed.

Asia, thou light of life,

Shadow of beauty unbeheld : and ye, 140

Fair sister nymphs, who made long years of pain
Sweet to remember, thro' your love and care :
Henceforth we will not part. There is a cave,
All overgrown with trailing odorous plants,
Which curtain out the day with leaves and flowers,
And paved with veined emerald, and a fountain
Leaps in the midst with an awakening sound.
From its curved roof the mountain's frozen tears
Like snow, or silver, or long diamond spires,
Hang downward, raining forth a doubtful light : 150

And there is heard the ever-moving air,
Whispering without from tree to tree, and birds,
And bees ; and all around are mossy seats,
And the rough walls are clothed with long soft grass ;

SCENE m.] PROMETHEUS UNBOUND. 83

A simple dwelling, which shall be our own ;

Where we will sit and talk of time and change,

As the world ebbs and flows, ourselves unchanged.

What can hide man from mutability?

And if ye sigh, then I will smile ; and thou,

lone, shalt chaunt fragments of sea-music, 160

Until I weep, when ye shall smile away

The tears she brought, which yet were sweet to shed.

We will entangle buds and flowers and beams

Which twinkle on the fountain's brim, and make

Strange combinations out of common things,

Like human babes in their brief innocence ;

And we will search, with looks and words of love,

For hidden thoughts, each lovelier than the last,

Our unexhausted spirits ; and like lutes

Touched by the skill of the enamoured wind, 170

Weave harmonies divine, yet ever new,

From difference sweet where discord cannot be ;

And hither come, sped on the charmed winds,

Which meet from all the points of heaven, as bees

From every flower aerial Enna feeds,

At their own island-homes in Himera

The echoes of the human world, which tell

Of the low voice of love, almost unheard,

And dove-eyed pity's murmured paja, and music,

Itself the echo of the heart, and all 180

That tempers or improves man's life, now free ;

And lovely apparitions, dim at first,

Then radiant, as the mind, arising bright

From the embrace of beauty, whence the forms

Of which these are the phantoms, casts on them

84 PROMETHEUS UNBOUND. [ACT in.

The gathered rays which are reality,

Shall visit us, the progeny immortal

Of Painting, Sculpture, and rapt Poesy,

And arts, tho' unimagined, yet to be.

The wandering voices and the shadows these 190

Of all that man becomes, the mediators

Of that best worship love, by him and us

Given and returned ; swift shapes and sounds, which grow

More fair and soft as man grows wise and kind,

And, veil by veil, evil and error fall :

Such virtue has the cave and place around.

{Turning to the SPIRIT OF THE HOUR.
For thee, fair Spirit, one toil remains. lone,
Give her that curved shell, which Proteus old
Made Asia's nuptial boon, breathing within it
A voice to be accomplished, and which thou 200

Didst hide in grass under the hollow rock.

IONE.

Thou most desired Hour, more loved and lovely
Than all thy sisters, this is the mystic shell ;
See the pale azure fading into silver
Lining it with a soft yet glowing light :
Looks it not like lulled music sleeping there ?

SPIRIT.

It seems in truth the fairest shell of Ocean :
Its sound must be at once both sweet and strange.

PROMETHEUS.

Go, borne over the cities of mankind
On whirlwind-footed coursers : once again 210

SCENE in.] PROMETHEUS UNBOUND. 85

Outspeed the sun around the orbed world ;
And as thy chariot cleaves the kindling air,
Thou breathe into the many- folded shell,
Loosening its mighty music ; it shall be
As thunder mingled with clear echoes : then
Return ; and thou shalt dwell beside our cave.
And thou, O, Mother Earth ! —

THE EARTH.

I hear, I feel ;

Thy lips are on me, and thy touch runs down
Even to the adamantine central gloom

'Along these marble nerves ; 'tis life, 'tis joy, aao

And thro' my withered, old, and icy frame
The warmth of an immortal youth shoots down
Circling. Henceforth the many children fair
Folded in my sustaining arms ; all plants,
And creeping forms, and insects rainbow-winged,
And birds, and beasts, and fish, and human shapes,
Which drew disease and pain from my wan bosom,
Draining the poison of despair, shall take
And interchange sweet nutriment. To me
Shall they become like sister-antelopes 230

By one fair dam, snow-white and swift as wind,
Nursed among lilies near a brimming stream.
The dew-mists of my sunless sleep shall float
Under the stars like balm : night-folded flowers
Shall suck unwithering hues in their repose :
And men and beasts in happy dreams shall gather
Strength for the coming day, and all its joy : *
And death shall be the last embrace of her

86 PROMETHEUS UNBOUND. [ACT in.

Who takes the life she gave, even as a mother

Folding her child, says, " Leave me not again." 240

ASIA.

Oh, mother ! wherefore speak the name of death ?
Cease they to love, and move, and breathe, and speak,

Who die?

THE EARTH.

It would avail not to reply :
Thou art immortal, and this tongue is known
But to the uncommunicating dead.
Death is the veil which those who live call life :
They sleep, and it is lifted : and meanwhile
In mild variety the seasons mild
With rainbow-skirted showers, and odorous winds,
And long blue meteors cleansing the dull night, 250

And the life-kindling shafts of the keen sun's
All-piercing bow, and the dew-mingled rain
Of the calm moonbeams, a soft influence mild,
Shall clothe the forests and the fields, aye, even
The crag-built desarts of the barren deep,
With ever-living leaves, and fruits, and flowers.
And thou ! There is a cavern where my spirit
Was panted forth in anguish whilst thy pain
Made my heart mad, and those who did inhale it
Became mad too, and built a temple there, 260

And spoke, and were oracular, and lured
The erring nations round to mutual war,
And faithless faith, such as Jove kept with thee ;
Which breath now rises, as amongst tall weeds
A violet's exhalation, and it fills

SCENE m.] PROMETHEUS UNBOUND. 87

With a serener light and crimson air,

Intense, yet soft, the rocks and woods around ;

It feeds the quick growth of the serpent vine,

And the dark linked ivy tangling wild,

And budding, blown, or odour-faded blooms 270

Which star the winds with points of coloured light,

As they rain thro' them, and bright golden globes

Of fruit, suspended in their own green heaven,

And thro' their veined leaves and amber stems

The flowers whose purple and translucent bowls

Stand ever mantling with aerial dew,

The drink of spirits : and it circles round,

Like the soft waving wings of noonday dreams,

Inspiring calm and happy thoughts, like mine,

Now thou art thus restored. This cave is thine. 280

Arise ! Appear !

\A Spirit rises in the likeness of a winged child.

This is my torch-bearer ;
Who let his lamp out in old time with gazing
On eyes from which he kindled it anew
With love, which is as fire, sweet daughter mine,
For such is that within thine own. Run, wayward,
And guide this company beyond the peak
Of Bacchic Nysa, Maenad-haunted mountain,
And beyond Indus and its tribute rivers,
Trampling the torrent streams and glassy lakes
With feet unwet, unwearied, undelaying, 290

And up the green ravine, across the vale,
Beside the windless and crystalline pool
Where ever lies, on unerasing waves,
The image of a temple, built above,

88 PROMETHEUS UNBOUND. [ACT HI.

Distinct with column, arch, and architrave,

And palm-like capital, and over-wrought,

And populous most with living imagery,

Praxitelean shapes, whose marble smiles

Fill the hushed air with everlasting love.

It is deserted now, but once it bore 300

Thy name, Prometheus ; there the emulous youths

Bore to thy honour thro' the divine gloom

The lamp which was thine emblem ; even as those

Who bear the untransmitted torch of hope

Into the grave, across the night of life,

As thou hast borne it most triumphantly

To this far goal of Time. Depart, farewell.

Beside that temple is the destined cave.

SCENE IV. — A Forest. In the Background a Cave. PRO-
METHEUS, ASIA, PANTHEA, IONE, and the SPIRIT OF THE

EARTH.

TONE.

Sister, it is not earthly : how it glides

Under the leaves ! how on its head there burns 310

A light like a green star, whose emerald beams

Are twined with its fair hair ! how, as it moves,

The splendour drops in flakes upon the grass !

Knowest thou it?

PANTHEA.

It is the delicate spirit

That guides the earth thro' heaven. From afar
The populous constellations call that light
The loveliest of the planets ; and sometimes

SCENE iv.] PROMETHEUS UNBOUND. 89

It floats along the spray of the salt sea,

Or makes its chariot of a foggy cloud,

Or walks thro' fields or cities while men sleep, 320

Or o'er the mountain-tops, or down the rivers,

Or through the green waste wilderness, as now,

Wondering at all it sees. Before Jove reigned

It loved our sister Asia, and it came

Each leisure hour to drink the liquid light

Out of her eyes, for which it said it thirsted

As one bit by a dipsas, and with her

It made its childish confidence, and told her

All it had known or seen, for it saw much,

Yet idly reasoned what it saw ; and called her, 330

For whence it sprung it knew not, nor do I,

Mother, dear mother.

THE SPIRIT OF THE EARTH (running to Asia).

Mother, dearest mother ;
May I then talk with thee as I was wont ?
May I then hide my eyes in thy soft arms,
After thy looks have made them tired of joy?
May I then play beside thee the long noons,
When work is none in the bright silent air?

ASIA.

I love thee, gentlest being, and henceforth
Can cherish thee unenvied : speak, I pray :
Thy simple talk once solaced, now delights. 340

SPIRIT OF THE EARTH. ^ ,

Mother, I am grown wiser, though a child
Cannot be wise like thee, within this day ;

90 PROMETHEUS UNBOUND. [ACT in.

And happier too ; happier and wiser both.

Thou knowest that toads, and snakes, and loathly worms,

And venomous and malicious beasts, and boughs

That bore ill berries in the woods, were ever

An hindrance to my walks o'er the green world :

And that, among the haunts of humankind,

Hard-featured men, or with proud, angry looks,

Or cold, staid gait, or false and hollow smiles, 350

Or the dull sneer of self-loved ignorance,

Or other such foul masks, with which ill thoughts

Hide that fair being whom we spirits call man ;

And women too, ugliest of all things evil,

(Tho' fair, even in a world where thou art fair,

When good and kind, free and sincere like thee,)

When false or frowning made me sick at heart

To pass them, tho' they slept, and I unseen.

Well, my path lately lay thro' a great city

Into the woody hills surrounding it : 360

A sentinel was sleeping at the gate :

When there was heard a sound, so loud, it shook

The towers amid the moonlight, yet more sweet

Than any voice but thine, sweetest of all ;

A long, long sound, as it would never end :

And all the inhabitants leapt suddenly

Out of their rest, and gathered in the streets,

Looking in wonder up to Heaven, while yet

The music pealed along. I hid myself

Within a fountain in the public square, 370

Where I lay like the reflex of the moon

Seen in a wave under green leaves ; and soon

Those ugly human shapes and visages

SCENE iv.] PROMETHEUS UNBOUND. 91

Of which I spoke as having wrought me pain,

Past floating thro' the air, and fading still

Into the winds that scattered them ; and those

From whom they past seemed mild and lovely forms ^

After some foul disguise had fallen, and all

Were somewhat changed, and after brief surprise

And greetings of delighted wonder, all 380

Went to their sleep again : and when the dawn

Came, would 'st thou think that toads, and snakes, and

efts,

Could e'er be beautiful? yet so they were,
And that with little change of shape or hue :
All things had put their evil nature off:
I cannot tell my joy, when o'er a lake
Upon a drooping bough with night-shade twined,
I saw two azure halcyons clinging downward
And thinning one bright bunch of amber berries,
With quick long beaks, and in the deep there lay 390

Those lovely forms imaged as in a sky ;
So with my thoughts full of these happy changes,
We meet again, the happiest change of all.

ASIA.

And never will we part, till thy chaste sister
Who guides the frozen and inconstant moon
Will look on thy more warm and equal light
Till her heart thaw like flakes of April snow
And love thee.

SPIRIT OF THE EARTH.
What ; as Asia loves Prometheus ? ^

92 PROMETHEUS UNBOUND. [ACT m.

ASIA.

Peace, wanton, thou art yet not old enough.
Think ye by gazing on each other's eyes 400

To multiply your lovely selves, and fill
With sphered fires the interlunar air?

SPIRIT OF THE EARTH.
Nay, mother, while my. sister trims her lamp
'Tis hard I should go darkling.

ASIA.

Listen ; look !
. \The SPIRIT OF THE HOUR enters.

PROMETHEUS.
We feel what thou hast heard and seen : yet speak.

SPIRIT OF THE HOUR.

Soon as the sound had ceased whose thunder filled
The abysses of the sky and the wide earth,
There was a change : the impalpable thin air
And the all-circling sunlight were transformed,
As if the sense of love dissolved in them 4IO

Had folded itself round the sphered world.
My vision then grew clear, and I could see
Into the mysteries of the universe :
Dizzy as with delight I floated down,
Winnowing the lightsome air with languid plumes,
My coursers sought their birthplace in the sun,
Where they henceforth will live exempt from toil
Pasturing flowers of vegetable fire.
And where my moonlike car will stand within

SCENE iv.] PROMETHEUS UNBOUND. 93

A temple, gazed upon by Phidian forms 420

Of thee, and Asia, and the Earth, and me,

And you fair nymphs looking the love we feel ;

In memory of the tidings it has borne ;

Beneath a dome fretted with graven flowers,

Poised on twelve columns of resplendent stone,

And open to the bright and liquid sky.

Yoked to it by an amphisbenic snake

The likeness of those winged steeds will mock

The flight from which they find repose. Alas,

Whither has wandered now my partial tongue 430

When all remains untold which ye would hear?

As I have said I floated to the earth :

It was, as it is still, the pain of bliss

To move, to breathe, to be ; I wandering went

Among the haunts and dwellings of mankind,

And first was disappointed not to see

Such mighty change as I had felt within,

Expressed in outward things ; but soon I looked,

And behold, thrones were kingless, and men walked

One with the other even as spirits do, 440

None fawned, none trampled ; hate, disdain, or fear,

Self-love or self-contempt, on human brows

No more inscribed, as o'er the gate of hell,

" All hope abandon ye who enter here ; "

None frowned, none trembled, none with eager fear

Gazed on another's eye of cold command,

Until the subject of a tyrant's will

Became, worse fate, the abject of his own,

Which spurred him, like an outspent horse, to death.

None wrought his lips in truth-entangling lines #o

94 PROMETHEUS UNBOUND. [ACT in.

Which smiled the lie his tongue disdained to speak ;

None, with firm sneer, trod out in his own heart

The sparks of love and hope till there remained

Those bitter ashes, a soul self-consumed,

And the wretch crept a vampire among men,

Infecting all with his own hideous ill ;

None talked that common, false, cold, hollow talk

Which makes the heart deny the yes it breathes,

Yet question that unmeant hypocrisy

With such a self-mistrust as has no name. 460

And women, too, frank, beautiful, and kind

As the free heaven which rains fresh light and dew

On the wide earth, past ; gentle radiant forms,

From custom's evil taint exempt and pure ;

Speaking the wisdom once they could not think,

Looking emotions once they feared to feel,

And changed to all which once they dared not be,

Yet being now, made earth like heaven ; nor pride,

Nor jealousy, nor envy, nor ill-shame,

The bitterest of those drops of treasured gall, 470

Spoilt the sweet taste of the nepenthe, love.

Thrones, altars, judgment-seats, and prisons, — wherein,

And beside which, by wretched men were borne

Sceptres, tiaras, swords, and chains, and tomes

Of reasoned wrong, glozed on by ignorance, —

Were like those monstrous and barbaric shapes,

The ghosts of a no more-remembered fame,

Which, from their unworn obelisks, look forth

In triumph o'er the palaces and tombs

Of those whp were their conquerors, mouldering round. 480

SCENE iv.] PROMETHEUS UNBOUND. 95

Those imaged, to the pride of kings and priests,

A dark yet mighty faith, a power as wide

As is the world it wasted, — and are now

But an astonishment. Even so the tools

And emblems of its last captivity,

Amid the dwellings of the peopled earth,

Stand, not o'erthrown, but unregarded now.

And those foul shapes, abhorred by god and man,

Which, under many a name and many a form

Strange, savage, ghastly, dark and execrable, 490

Were Jupiter, the tyrant of the world, —

And which the nations, panic-stricken, served

With blood, and hearts broken by long hope, and love

Dragged to his altars soiled and garlandless,

And slain among men's unreclaiming tears,

Flattering the thing they feared, which fear was hate, —

Frown, mouldering fast, o'er their abandoned shrines.

The painted veil, — by those who were, called life, —

Which mimicked, as with colours idly spread,

All men believed and hoped, is torn aside. 500

The loathsome mask has fallen, the man remains, —

Sceptreless, free, uncircumscribed, but man :

Equal, unclassed, tribeless, and nationless,

Exempt from awe, worship, degree, the king

Over himself; just, gentle, wise : but man.

Passionless ? no : — yet free from guilt or pain, —

Which were, for his will made or suffered them,

Nor yet exempt, tho' ruling them like slaves,

From chance, and death, and mutability, — ^ *

The clogs of that which else might oversoar 510

The loftiest star of unascended heaven,

Pinnacled dim in the intense inane.

ACT IV.

SCENE, A part of the Forest near the Cave of PROMETHEUS.
PANTHEA and IONE are sleeping: they awaken gradually
during the first Song.

VOICE of Unseen Spirits.

The pale stars are gone !
For the sun, their swift shepherd,
To their folds them compelling,
In the depths of the dawn,
Hastes, in meteor- eclipsing array, and they flee
Beyond his blue dwelling,
As fawns flee the leopard.
But where are ye ?

A train of dark Forms and Shadows passes by confusedly,

singing.

Here, oh, here :

We bear the bier 10

Of the Father of many a cancelled year !
Spectres we
Of the dead Hours be,
We bear Time to his tomb in eternity.

Strew, oh, strew
Hair, not yew !
Wet the dusty pall with tears, not dew !

[ACT iv.J PROMETHEUS UNBOUND. 97

Be the faded flowers
Of Death's bare bowers
Spread on the corpse of the King of Hours ! 20

Haste, oh, haste !

As shades are chased,
Trembling, by day, from heaven's blue waste.

We melt away,

Like dissolving spray,
From the children of a diviner day,

With the lullaby

Of winds that die .

On the bosom of their own harmony !

IONE.
What dark forms were they? 30

PANTHEA.

The past Hours weak and grey,
With the spoil which their toil

Raked together
From the conquest but One could foil.

IONE.
Have they past?

PANTHEA.

They have past ;
They outspeeded the blast,
While 'tis said, they are fled :

IONE. ^

Whither, oh, whither?

98 PROMETHEUS UNBOUND. [ACT iv.

PANTHEA.
To the dark, to the past, to the dead.

VOICE of Unseen Spirits.

Bright clouds float in heaven, 40

Dew-stars gleam on earth,
Waves assemble on ocean,
They are gathered and driven
By the storm of delight, by the panic of glee !
They shake with emotion,
They dance in their mirth.
But where are ye ?

The pine boughs are singing
Old songs with new gladness,
The billows and fountains 50

Fresh music are flinging,

Like the notes of a spirit from land and from sea ;
The storms mock the mountains
With the thunder of gladness.
But where are ye ?

ZONE.
What charioteers are these?

PANTHEA.

Where are their chariots ?

SEMICHORUS OF HOURS.
The voice of the Spirits of Air and of Earth

Have drawn back the figured curtain of sleep
Which covered our being and darkened our birth

In the deep.

ACT iv.J PROMETHEUS UNBOUND. 99

A VOICE.
In the deep ?

SEMICHORUS II.

Oh, below the deep. 60

SEMICHORUS I.
An hundred ages we had been kept

Cradled in visions of hate and care,
And each one who waked as his brother slept,

Found the truth —

SEMICHORUS II.

Worse than his visions were !

SEMICHORUS I.
We have heard the lute of Hope in sleep ;

We have known the voice of Love in dreams,
We have felt the wand of Power, and leap —

SEMICHORUS II.
As the billows leap in the morning beams !

CHORUS.
Weave the dance on the floor of the breeze,

Pierce with song heaven's silent light, 70

Enchant the day that too swiftly flees,

To check its flight ere the cave of night.

Once the hungry Hours were hounds

Which chased the day like a bleeding deer,

And it limped and stumbled with many wounds
Through the nightly dells of the desart year.

100 PROMETHEUS UNBOUND. [ACT iv.

But now, oh weave the mystic measure
Of music, and dance, and shapes of light,

Let the Hours, and the spirits of might and pleasure,
Like the clouds and sunbeams, unite.

A VOICE.

Unite 80

PANTHEA.

See, where the Spirits of the human mind

Wrapped in sweet sounds, as in bright veils, approach.

CHORUS OF SPIRITS.

We join the throng

Of the dance and the song,
By the whirlwind of gladness borne along ;

As the flying-fish leap

From the Indian deep,
And mix with the sea-birds, half asleep.

CHORUS OF HOURS.
Whence come ye, so wild and so fleet,
For sandals of lightning are on your feet, 90

And your wings are soft and swift as thought,
And your eyes are as love which is veiled not ?

CHORUS OF SPIRITS OF THE MIND.

We come from the mind

Of human kind,
Which was late so dusk, and obscene, and blind,

Now 'tis an ocean

Of clear emotion,
A heaven of serene and mighty motion.

ACT iv.J PROMETHEUS UNBOUND. 101

From that deep abyss

Of wonder and bliss,
Whose caverns are crystal palaces ;

From those skiey towers

Where Thought's crowned powers
Sit watching your dance, ye happy Hours !

From the dim recesses

Of woven caresses,
Where lovers catch ye by your loose tresses ;

From the azure isles,

Where sweet Wisdom smiles,
Delaying your ships with her siren wiles.

From the temples high

Of Man's ear and eye,
Roofed over Sculpture and Poesy ;

From the murmurings

Of the unsealed springs
Where Science bedews his Daedal wings.

Years after years,

Through blood, and tears,
And a thick hell of hatreds, and hopes, and fears ;

We waded and flew,

And the islets were few
Where the bud-blighted flowers of happiness grew.

Our feet now, every palm,

Are sandalled with calm,
And the dew of our wings is a rain of balm ;

And, beyond our eyes,

The human love lies
Which makes all it gazes on Paradise.

102 PROMETHEUS UNBOUND. [ACT iv.

CHORUS OF SPIRITS AND HOURS.
Then weave the web of the mystic measure ;

From the depths of the sky and the ends of the earth, 130
Come, swift Spirits of might and of pleasure,

Fill the dance and the music of mirth,
As the waves of a thousand streams rush by
To an ocean of splendour and harmony !

CHORUS OF SPIRITS OF THE MIND.

Our spoil is won,

Our task is done,
We are free to dive, or soar, or run ;

Beyond and around,

Or within the bound
Which clips the world with darkness round, 140

We'll pass the eyes

Of the starry skies
Into the hoar deep to colonize :

Death, Chaos, and Night,

From the sound of our flight,
Shall flee, like rnist from a tempest's might.

And Earth, Air, and Light,

And the Spirit of Might,
Which drives round the stars in their fiery flight;

And Love, Thought, and Breath, 150

The powers that quell Death,
Wherever we soar shall assemble beneath.

And our singing shall build
In the void's loose field
A world for the Spirit of Wisdom to wield ;

ACT iv.] PROMETHEUS UNBOUND. 103

We will take our plan
From the new world of man,
And our work shall be called the Promethean.

CHORUS OF HOURS.
Break the dance, and scatter the song ;

Let some depart, and some remain. 160

SEMICHORUS I.
We, beyond heaven, are driven along :

SEMICHORUS II.
Us the enchantments of earth retain :

SEMICHORUS I.

Ceaseless, and rapid, and fierce, and free,
With the Spirits which build a new earth and sea,
And a heaven where yet heaven could never be.

SEMICHORUS II.

Solemn, and slow, and serene, and bright,
Leading the Day and outspeeding the Night,
With the powers of a world of perfect light.

SEMICHORUS I.

We whirl, singing loud, round the gathering sphere,
Till the trees, and the beasts, and the clouds appear 170
From its chaos made calm by love, not fear.

SEMICHORUS II.

We encircle the ocean and mountains of earth,
And the happy forms of its death and birth *^

Change to the music of our sweet mirth.

104 PROMETHEUS UNBOUND. [ACT iv.

CHORUS OF HOURS AND SPIRITS.

Break the dance, and scatter the song,

Let some depart, and some remain,
Wherever we fly we lead along
In leashes, like starbeams, soft yet strong,

The clouds that are heavy with love's sweet rain.

PANTHEA.
Ha ! they are gone !

IONE.

Yet feel you no delight 180

From the past sweetness ?

PANTHEA.

As the bare green hill
When some soft cloud vanishes into rain,
Laughs with a thousand drops of sunny water
To the unpavilioned sky !

IONE.

Even whilst we speak
New notes arise. What is that awful sound ?

PANTHEA.

'Tis the deep music of the rolling world
Kindling within the strings of the waved air,
^Eolian modulations.

IONE.

Listen too,

How every pause is filled with under- notes,
Clear, silver, icy, keen awakening tones, 190

ACT iv.] PROMETHEUS UNBOUND. 105

Which pierce the sense, and live within the soul,
As the sharp stars pierce winter's crystal air
And gaze upon themselves within the sea.

PANTHEA.

But see where through two openings in the forest

Which hanging branches overcanopy,

And where two runnels of a rivulet,

Between the close moss violet-inwoven,

Have made their path of melody, like sisters

Who part with sighs that they may meet in smiles,

Turning their dear disunion to an isle 200

Of lovely grief, a wood of sweet sad thoughts ;

Two visions of strange radiance float upon

The ocean-like enchantment of strong sound,

Which flows intenser, keener, deeper yet,

Under the ground and through the windless air.

IONE.

I see a chariot like that thinnest boat,

In which the mother of the months is borne

By ebbing night into her western cave,

When she upsprings from interlunar dreams,

O'er which is curved an orblike canopy 210

Of gentle darkness, and the hills and woods

Distinctly seen through that dusk airy veil,

Regard like shapes in an enchanter's glass ;

Its wheels are solid clouds, azure and gold,

Such as the genii of the thunder-storm

Pile on the floor of the illumined sea

When the sun rushes under it ; they roll

106 PROMETHEUS UNBOUND. [ACT iv.

And move and grow as with an inward wind ;

Within it sits a winged infant, white

Its countenance, like the whiteness of bright snow, 220

Its plumes are as feathers of sunny frost,

Its limbs gleam white, through the wind-flowing folds

Of its white robe, woof of aetherial pearl.

Its hair is white, the brightness of white light

Scattered in strings; yet its two eyes are heavens

Of liquid darkness, which the Deity

Within seems pouring, as a storm is poured

From jagged clouds, out of their arrowy lashes,

Tempering the cold and radiant air around,

With fire that is not brightness ; in its hand 230

It sways a quivering moon-beam, from whose point

A guiding power directs the chariot's prow

Over its wheeled clouds, which as they roll

Over the grass, and flowers, and waves, wake sounds,

Sweet as a singing rain of silver dew.

PANTHEA.

And from the other opening in the wood

Rushes, with loud and whirlwind harmony,

A sphere, which is as many thousand spheres,

Solid as crystal, yet through all its mass

Flow, as through empty space, music and light : 240

Ten thousand orbs involving and involved,

Purple and azure, white, green, and golden,

Sphere within sphere ; and every space between

Peopled with unimaginable shapes,

Such as ghosts dream dwell in the lampless deep,

Yet each inter-transpicuous, and they whirl

ACT iv.] PROMETHEUS UNBOUND. 107

Over each other with a thousand motions,

Upon a thousand sightless axles spinning,

And with the force of self-destroying swiftness,

Intensely, slowly, solemnly roll on. 250

Kindling with mingled sounds, and many tones,

Intelligible word's and music wild.

With mighty whirl the multitudinous orb

Grinds the bright brook into an azure mist

Of elemental subtlety, like light ;

And the wild odour of the forest flowers,

The music of the living grass and air,

The emerald light of leaf- entangled beams

Round its intense yet self-conflicting speed,

Seem kneaded into one aerial mass 260

Which drowns the sense. Within the orb itself,

Pillowed upon its alabaster arms,

Like to a child o'erwearied with sweet toil,

On its own folded wings and wavy hair,

The Spirit of the Earth is laid asleep,

And you can see its little lips are moving,

Amid the changing light of their own smiles,

Like one who talks of what he loves in dream.

IONE.
'Tis only mocking the orb's harmony.

PANTHEA.

And from a star upon its forehead, shoot, 270

Like swords of azure fire, or golden spears
With tyrant-quelling myrtle overtwined,
Embleming heaven and earth united now,

108 PROMETHEUS UNBOUND. [ACT iv.

Vast beams like spokes of some invisible wheel

Which whirl as the orb whirls, swifter than thought,

Filling the abyss with sun-like lightnings,

And perpendicular now, and now transverse,

Pierce the dark soil, and as they pierce and pass,

Make bare the secrets of the earth's deep heart ;

Infinite mine of adamant and gold, 280

Valueless stones and unimagined gems,

And caverns on crystalline columns poised

With vegetable silver overspread ;

Wells of unfathomed fire, and water-springs

Whence the great sea, even as a child is fed,

Whose vapours clothe earth's monarch mountain-tops

With kingly, ermine snow. The beams flash on,

And make appear the melancholy ruins

Of cancelled cycles ; anchors, beaks of ships ;

Planks turned to marble ; quivers, helms, and spears, 290

And gorgon-headed targes, and the wheels

Of scythed chariots, and the emblazonry

Of trophies, standards, and armorial beasts,

Round which Death laughed, sepulchred emblems

Of dead destruction, ruin within ruin !

The wrecks beside of many a city vast,

Whose population which the earth grew over

Was mortal, but not human ; see, they lie,

Their monstrous works and uncouth skeletons,

Their statues, homes and fanes ; prodigious shapes 300

Huddled in grey annihilation, split,

Jammed in the hard, black deep ; and over these,

The anatomies of unknown winged things,

And fishes which were isles of living scale,

ACT iv.] PROMETHEUS UNBOUND. 109

And serpents, bony chains, twisted around

The iron crags, or within heaps of dust

To which the tortuous strength of their last pangs

Had crushed the iron crags ; and over these

The jagged alligator, and the might

Of earth-convulsing behemoth, which once 310

Were monarch beasts, and orr the slimy shores,

And weed-overgrown continents of earth,

Increased and multiplied like summer worms

On an abandoned corpse, till the blue globe

Wrapt deluge round it like a cloke, and they

Yelled, gasped, and were abolished ; or some God

Whose throne was in a comet, past, and cried,

Be not ! And like my words they were no more.

THE EARTH.

The joy, the triumph, the delight, the madness !

The boundless, overflowing, bursting gladness, 320

The vaporous exultation not to be confined !

Ha ! ha ! the animation of delight

Which wraps me, like an atmosphere of light,
And bears me as a cloud is borne by its own wind.

THE MOON.

Brother mine, calm wanderer,

Happy globe of land and air,
Some Spirit is darted like a beam from thee,

Which penetrates my frozen frame,

And passes with the warmth of flame,
With love, and odour, and deep melody 330

V^4

Through me, through me !

110 PROMETHEUS UNBOUND. [ACT iv.

THE EARTH.

Ha ! ha ! the caverns of my hollow mountains,
My cloven fire-crags, sound-exulting fountains

Laugh with a vast and inextinguishable laughter.
The oceans, and the desarts, and the abysses,
And the deep air's unmeasured wildernesses,

Answer from all their clouds a"nd billows, echoing after.

They cry aloud as I do. Sceptred curse,

Who all our green and azure universe
Threatenedst to muffle round with black destruction,

sending 340

A solid cloud to rain hot thunder-stones,

And splinter and knead down my children's bones,
All I bring forth, to one void mass battering and blending —

Until each crag-like tower, and storied column,

Palace, and obelisk, and temple solemn,
My imperial mountains crowned with cloud, and snow,
and fire ;

My sea-like forests, every blade and blossom

Which finds a grave or cradle in my bosom,
Were stamped by thy strong hate into a lifeless mire —

How art thou sunk, withdrawn, covered, drunk up 350

By thirsty nothing, as the brackish cup
Drained by a desart-troop, a little drop for all ;

And from beneath, around, within, above,

Filling thy void annihilation, love
Burst in like light on caves cloven by the thunder-ball.

ACT iv.] PROMETHEUS UNBOUND. Ill

THE MOON.

The snow upon my lifeless mountains
Is loosened into living fountains,
My solid oceans flow, and sing, and shine :
A spirit from my heart bursts forth,
It clothes with unexpected birth 360

My cold bare bosom : Oh ! it must be thine
On mine, on mine !

Gazing on thee, I feel, I know

Green stalks burst forth, and bright flowers grow,
And living shapes upon my bosom move :

Music is in the sea and air,

Winged clouds soar here and there,
Dark with the rain new buds are dreaming of:
'Tis love, all love !

THE EARTH.

It interpenetrates my granite mass, 370

Through tangled roots and trodden clay doth pass,
Into the utmost leaves and delicatest flowers ;

Upon the winds, among the clouds 'tis spread,

It wakes a life in the forgotten dead,
They breathe a spirit up from their obscurest bowers.

And like a storm bursting its cloudy prison
With thunder, and with whirlwind, has arisen

Out of the lampless caves of unimagined being :
With earthquake shock and swiftness making shiver
Thought's stagnant chaos, unremoved for ever, . 380

Till hate, and fear, and pain, light-vanquished shadows,
fleeing,

112 PROMETHEUS UNBOUND. [ACT iv.

Leave Man, who was a many sided mirror,
Which could distort to many a shade of error,

This true fair world of things, a sea reflecting love ;
Which over all his kind as the sun's heaven
Gliding o'er ocean, smooth, serene, and even

Darting from starry depths radiance and life, doth move,

Leave Man, even as a leprous child is left,

Who follows a sick beast to some warm cleft
Of rocks, through which the might of healing springs

is poured ; 390

Then when it wanders home with rosy smile,

Unconscious, and its mother fears awhile
It is a spirit, then, weeps on her child restored.

Man, oh, not men ! a chain of linked thought,

Of love and might to be divided not,
Compelling the elements with adamantine stress ;

As the Sun rules, even with a tyrant's gaze,

The unquiet republic of the maze
Of planets, struggling fierce towards heaven's free wil-
derness.

Man, one harmonious soul of many a soul, 400

Whose nature is its own divine control,
Where all things flow to all, as rivers to the sea;

Familiar acts are beautiful through love ;

Labour, and pain, and grief, in life's green grove
Sport like tame beasts, none knew how gentle they could
be!

His will, with all mean passions, bad delights,
And selfish cares, its trembling satellites,

ACT iv.] PROMETHEUS UNBOUND. 113

A spirit ill to guide, but mighty to obey,

Is as a tempest-winged ship, whose helm

Love rules through waves which dare not overwhelm, 410
Forcing life's wildest shores to own its sovereign sway.

All things confess his strength. Through the cold

mass

Of marble and of colour his dreams pass ;
Bright threads whence mothers weave the robes their

children wear ;

Language is a perpetual orphic song,
Which rules with Daedal harmony a throng
Of thoughts and forms, which else senseless and shape-
less were.

The lightning is his slave ; heaven's utmost deep

Gives up her stars, and like a flock of sheep
They pass before his eye, are numbered, and roll on ! 420

The tempest is his steed, he strides the air ;

And the abyss shouts from her depth laid bare,
Heaven, hast thou secrets ? Man unveils me ; I have
none.

THE MOON.

The shadow of white death has past

From my path in heaven at last,
A clinging shroud of solid frost and sleep ;

And through my newly- woven bowers, ^ ,

Wander happy paramours,
Less mighty, but as mild as those who keep

Thy vales more deep. 430

114 PROMETHEUS UNBOUND. [ACT IV.

THE EARTH.

As the dissolving warmth of dawn may fold
A half unfrozen dew-globe, green, and gold,

And crystalline, till it becomes a winged mist,
And wanders up the vault of the blue day,
Outlives the noon, and on the sun's last ray

Hangs o'er the sea, a fleece of fire and amethyst.

THE MOON.

Thou art folded, thou art lying

In the light which is undying
Of thine own joy, and heaven's smile divine ;

All suns and constellations shower 440

On thee a light, a life, a power
Which doth array thy sphere ; thou pourest thine
On mine, on mine !

THE EARTH.

I spin beneath my pyramid of night,

Which points into the heavens dreaming delight,
Murmuring victorious joy in my enchanted sleep ;

As a youth lulled in love-dreams faintly sighing,

Under the shadow of his beauty lying,
Which round his rest a watch of light and warmth doth
keep.

THE MOON.

As in the soft and sweet eclipse, 450

When soul meets soul on lovers' lips,
High hearts are calm, and brightest eyes are dull ;

ACT iv.] PROMETHEUS UNBOUND. 115

So when thy shadow falls on me,
Then am I mute and still, by thee
Covered ; of thy love, Orb most beautiful,
Full, oh, too full !

Thou art speeding round the sun,

Brightest world of many a one ;

Green and azure sphere which shinest

With a light which is divinest 460

Among all the lamps of Heaven

To whom life and light is given ;

I, thy crystal paramour

Borne beside thee by a power

Like the polar Paradise,

Magnet-like, of lovers' eyes ;

I, a most enamoured maiden

Whose weak brain is overladen

With the pleasure of her love,

Maniac-like around thee move 470

Gazing, an insatiate bride,

On thy form from every side

Like a Maenad, round the cup

Which Agave lifted up

In the weird Cadmsean forest.

Brother, wheresoe'er thou soarest

I must hurry, whirl and follow

Through the heavens wide and hollow

Sheltered by the warm embrace .*..-

Of thy soul from hungry space, 480

Drinking from thy sense and sight

Beauty, majesty, and might,

116 PROMETHEUS UNBOUND. [ACT iv.

As a lover or a cameleon

Grows like what it looks upon,

As a violet's gentle eye

Gazes on the azure sky
Until its hue grows like what it beholds,

As a grey and watery mist

Glows like solid amethyst

Athwart the western mountain it enfolds, 490

When the sunset sleeps
Upon its snow.

THE EARTH.
And the weak day weeps

That it should be so.

Oh, gentle Moon, the voice of thy delight
Falls on me like the clear and tender light
Soothing the seaman, borne the summer night

Through isles for ever calm ;
Oh, gentle Moon, thy crystal accents pierce
The caverns of my pride's deep universe, 500

Charming the tiger joy, whose tramplings fierce
Made wounds which need thy balm.

PANTHEA.

I rise as from a bath of sparkling water,
A bath of azure light, among dark rocks,
Out of the stream of sound.

IONE.

Ah me ! sweet sister,
The stream of sound has ebbed away from us,

ACTivJ PROMETHEUS UNBOUND. 117

And you pretend to rise out of its wave,
Because your words fall like the clear, soft dew
Shaken from a bathing wood-nymph's limbs and hair.

PANTHEA.

Peace ! peace ! A mighty Power which is as darkness, 510

Is rising out of Earth, and from the sky

Is showered like night, and from within the air

Bursts, like eclipse which had been gathered up

Into the pores of sunlight : the bright visions,

Wherein the singing spirits rode and shone,

Gleam like pale meteors through a watery night.

IONE.
There is a sense of words upon mine ear.

PANTHEA.
An universal sound like words : Oh, list !

DEMOGORGON.

Thou, Earth, calm empire of a happy soul,

Sphere of divinest shapes and harmonies, 520

Beautiful orb ! gathering as thou dost roll
The love which paves thy path along the skies ;

THE EARTH.
I hear : I am as a drop of dew that dies.

DEMOGORGON.

Thou, Moon, which gazest on the nightly Earth
With wonder, as it gazes upon thee ;

]18 PROMETHEUS UNBOUND. [ACT iv.

Whilst each to men, and beasts, and the swift birth
Of birds, is beauty, love, calm, harmony :

THE MOON.
I hear : I am a leaf shaken by thee !

DEMOGORGON.

Ye kings of suns and stars, Daemons and Gods,
/Ethereal Dominations, who possess 530

Elysian, windless, fortunate abodes

Beyond Heaven's constellated wilderness :

A VOICE from above.

Our great Republic hears, we are blest, and bless.

DEMOGORGON.

Ye happy dead, whose beams of brightest verse
Are clouds to hide, not colours to pourtray,

Whether your nature is that universe
Which once ye saw and suffered —

A VOICE from btneath.

Or as they
Whom we have left, we change and pass away.

DEMOGORGON.

Ye elemental Genii, who have homes

From man's high mind even to the central stone 540
Of sullen lead ; from Heaven's star-fretted domes

To the dull weed some sea-worm battens on :

ACT iv.] PROMETHEUS UNBOUND. 119

A CONFUSED VOICE.
We hear : thy words waken Oblivion.

DEMOGORGON.

Spirits, whose homes are flesh : ye beasts and birds,
Ye worms, and fish ; ye living^ leaves and buds ;

Lightning and wind ; and ye untameable herds,
Meteors and mists, which throng air's solitudes :

A VOICE.
Thy voice to us is wind among still woods.

DEMOGORGON.

Man, who wert once a despot and a slave ;

A dupe and a deceiver ; a decay ; 550

A traveller from the cradle to the grave

Through the dim night of this immortal day :

ALL.
Speak : thy strong words may never pass away.

DEMOGORGON.

This is the day, which down the void abysm

At the Earth-born's spell yawns for Heaven's despotism,

And Conquest is dragged captive through the deep :
Love, from its awful throne of patient power
In the wise heart, from the last giddy hour

Of dead endurance, from the slippery, steep,
And narrow verge of crag-like agony, springs 360

And folds over the world its healing wings.

120 PROMETHEUS UNBOUND. [ACT iv.]

Gentleness, Virtue, Wisdom, and Endurance,
These are the seals of that most firm assurance

Which bars the pit over Destruction's strength ;
And if, with infirm hand, Eternity,
Mother of many acts and hours, should free

The serpent that would clasp her with his length ;
These are the spells by which to re-assume
An empire o'er the disentangled doom.

To suffer woes which Hope thinks infinite ; 570

To forgive wrongs darker than death or night ;

To defy Power, which seems omnipotent ;
To love, and bear ; to hope till Hope creates
From its own wreck the thing it contemplates ;

Neither to change, nor faulter, nor repent ;
This, like thy glory, Titan, is to be
Good, great and joyous, beautiful and free ;
This is alone Life, Joy, Empire, and Victory.

SUGGESTIONS

TOWARDS A COMPARISON OF THE PROMETHEUS
UNBOUND WITH THE PROMETHEUS BOUND OF
AESCHYLUS.

WE know that Shelley, though not an accurate Greek
scholar, read Greek with eagerness and ease. Of the period
during which the Prometheus Unbound was written, Mrs.
Shelley tells us : " The Greek tragedians were now his most
familiar companions, and the sublime majesty of ^Eschylus
filled him with wonder and delight." Prometheus Bound
had a special attraction for Shelley, whose audacious soul,
always sympathetic with rebellion, ' was inevitably drawn
towards the most audacious expression of Greek genius.
The Prometheus Unbound is steeped in the spirit of ^Eschy-
lus. All the more striking is the originality of Shelley, both
in conception and in treatment. There is no trace of
plagiarism in his manner, yet the whole drama reveals how
deeply and in what subtle ways one great imaginative writer
may influence another.

In form, the Prometheus Unbound is more akin to the
Greek type of drama than to the Shakespearean type ; for, as
in the Greek, the lyrical element has nearly or quite as much
structural importance as the blank verse. Shelley has
indeed the modern division into acts ; but an equally essen-

121

122 PROMETHEUS UNBOUND.

tial division is signalled by the great choral passages. The
modernness of Shelley's drama is however evident in the
more subtle and free interfusion of lyric with recitative, and
the far greater elaboration of the personages and function of
the chorus. In ^schylus, the Chorus is a band of Sea-
nymphs, who wing their way upward from the ocean to
console Prometheus, and settle at the rock at his feet
(lines 128-135 ) 277-282). In Shelley, the chief characters
who sustain the Chorus are also Sea-nymphs, — lone and
Panthea, who, like the nymphs of ^schylus, sit with droop-
ing wings on the cliff below Prometheus, and cheer him
with their sympathy. But with the songs of these Daughters
of Ocean are blended the voices of the whole creation, —
Spirits of Nature, of the Human Mind, of unguessed Powers
of Evil, — who fill with music every pause in the drama.
Moreover, in Shelley the Chorus-characters are far more
closely interwoven with the structure of the drama than in
yEschylus. The chorus of the Prometheus Bound holds the
simple position of the observer, and its function is to
express emotional sympathy : the chorus-voices of the Pro-
metheus Unbound again and again further the action.

Indeed, the structure of the modern drama is at every
point both more complex and more organic than that of the
Greek drama. There are more leading characters, and
their relation to each other is less purely incidental.
yEschylus suggests indeed a fine character-contrast between
Prometheus and lo : the Titan suffering from the hate of
Zeus, the woman from his love, the Titan an image of proud
and still stoicism, the woman of restless and uncontrolled
passion. But, as far as the story is concerned, Prometheus
and lo are bound together simply by the mechanical tie of

PROMETHEUS UNBOUND. 123

common suffering, and by the prophecy of the age to come,
when Herakles, the descendant of lo, shall release the
Titan. Prometheus and Asia are far more deeply united.
Their relation is an essential fact in the drama, and their
destinies are one, alike in the external and in the spiritual
narrative. The subordinate characters also all play a
necessary part in the action. This closer structural unity of
Shelley's drama is entirely modern.

The conception of the central character, again, differs
widely in the two dramas. The Prometheus of ^Eschylus is
by no means an ideal hero, even to us, who have with the
Rebel an instinctive sympathy greater than the Greek would
have dared to acknowledge. He is fiery, untamed, revenge-
ful, answering taunt with taunt. In the Prometheus of Shel-
ley, all that can lessen our sympathy is removed. The
strength remains, but the bitterness has vanished, merged in
an all-embracing pity. The Titan of ^Eschylus exclaims : —

nPOMHGETS. .

L. 975- <*7r^-(? Xoyo> TOV? TravTa

ocrot Tra^dvTCs eu KO.K.OVOL fi CK&LK

EPMHS.
W <r' eyoj /KC/X^VOT' ou oyxiKpav voVov.1

i PROMETHEUS.

I tell thee, I loathe the universal gods,
Who for the good I gave them rendered back
The ill of their injustice.

HERMES.

Thou art mad —
I hear thee raving, Titan, at the fever-height

124 PROMETHEUS UNBOUND.

HPOMHeETS.
vocroi/x' av, ei v6<Tr)p.a TOUS e^Opov^ (rrvyeiv.

Shelley's Prometheus no longer " loathes the universal gods."

He says : —

I hate no more
As then, ere misery made me wise.

Yet, in spite of this new magnanimity, the Titan of Shelley
has fully as much of fine scorn and legitimate defiance as the
Titan of yEschylus. Compare Shelley, I. 401-406, with^Es-
chylus, 937-940.

Let others flatter Crime, where it sits throned
In brief omnipotence : — secure are they, . . .

I wait,

Enduring thus, the retributive hour,
Which, since we spake is even nearer now.

<T€/?ov, Trpocrev^ov, Qunrrf. rov Kparowr' dei'.
fp.ol 8' eAaoxrov Z^vos 17 /x/tySev /xeXci
SpaVo), KpaTetVo) roVSe TOV ftpa^yv
OTTWS OeXu' Sapov yap OVK ap^ei

We may, if we like, conceive the hero of the later drama
to be the same as the hero of the earlier, disciplined by

PROMETHEUS.

If it be madness to abhor my foes,
May I be mad !

1 Reverence thou,

Adore thou, flatter thou, whomever reigns,
Whenever reigning — but for me, your Zeus
Is less than nothing ! Let him act and reign
His brief hour out, according to his will —
He will not, therefore, rule the gods too long !

PR OME THE US UNB 0 UND. 1 25

aeons of pain. Or, we may say that Shelley selected the
noblest elements alone in the Prometheus of ^Eschylus, and
developed these elements into a grand and harmonious con-
ception. For there are very noble suggestions in the elder
Prometheus. Calm and dignified lines succeed outbursts of
tempestuous hate, affecting us like still water after angry seas.
The Prometheus sung by Shelley is he who is hailed by lo, —

L. 613. (o KOIVOV

Almost we may say that the Prometheus of ^Eschylus is
the parent of two widely differing conceptions : the Satan of
Milton, and the Prometheus. of Shelley. In Milton, the glory
is even more dimmed than in ^Eschylus by hate and scorn ;
in Shelley, the nobler elements have conquered, and the
Titan is proud indeed, but pure from evil taint

Not only the conception of Prometheus, but the whole
conception of the drama is in Shelley touched to modern-
ness. This is especially evident in the relation between
Prometheus and Asia. The broken yet ideal communion
between Man and the Spirit of Nature was unthought of
by the Greek. The use made by Shelley of the idea in
the old myth, that Jupiter derived all his power from Pro-
metheus, subserves in an interesting way Shelley's peculiar
philosophy, and gives us, in place of the external tyrant
of ^Eschylus, a mere emanation from the human mind. In
^Eschylus, salvation is to be wrought by submission and
compromise ; in Shelley, by revolution and by love. The

1 O common Help of all men, known of all,
O miserable [or enduring] Prometheus.

126 PROMETHEUS UNBOUND.

central fact of the Prometheus Bound, as of every Greek
drama, is 'Avay*?; — Necessity.

L. 105. TO T^S avayKTjs «?OT' dSrjpiTov aQivos.

In spite of the intellectual fatalism of Shelley, the central
thought of the English drama is freedom, — man's control
over his own destiny. Finally, the whole spiritual idea is far
clearer in Shelley's mind than in the mind of ^Eschylus.
We instinctively feel, in the Prometheus Bound, either that
the poet conceals from his hearers an esoteric truth, which
he dares to suggest by dark hints only, or else that he is
himself held in the grasp of a conception greater than he
fully understands. In Shelley, the rebellious note is in no
wise suppressed. We feel him to be in full possession of his
own thought, and if the thought is obscure to us, the fault
does not lie with the poet.

The direct comparisons between the two dramas are
naturally confined in the main to the first act of Shelley,
as this is the only part which repeats in any degree the sit-
uation of JEschylus. The scene here is much the same, —
the high mountain-wall, the nailed Titan, the ocean spread
below. We know how profoundly Shelley's imagination was
affected by the setting of the Prometheus Bound ; we know
also that shortly before writing his own drama he had been
travelling among the finest scenery of the Alps and of North-
ern Italy. He writes, in his journal, March 26, 1818: —
" After dinner we ascended Les Echelles, winding along a
road cut through perpendicular rocks, of immense elevation.
. . . The rocks, which cannot be less than a thousand feet
in perpendicular height, sometimes overhang the road on
each side, and almost shut out the sky. The scene is like

PROMETHEUS UNBOUND. 127

that described in the Prometheus of ^Eschylus : — vast rifts
and caverns in the granite precipices ; wintry mountains
with ice and snow above ; the loud sounds of unseen waters
within the caverns, and walls of toppling rocks, only to bo
scaled as he describes, by the winged chariot of the ocean
nymphs." Reminiscences of the Alps and of ^Eschylus meet
in the scenery of the Prometheus Unbound.

The passive elements introduced in the description of the
scene are the same, — the vast height, the remoteness and
desolation. Compare with Shelley, I. 1-23.

L. I. x^ovos P*v c's TrjXovpov -rjKOfJiev irfSov
^KvOrjv es oifiov, afiarov €is eprjfJ-Lav.1

L. 2O. . . . airavdpwirta 7rayo>

iv oure (fxavrjv ovrt TOV p,op(J3r]v /Bp
oi/'ei.2

L. 270. . . . fprjp.ov TovB' dyctVovos ?rayou.3
L. 141. ..

<f>povpav a

1 We reach the utmost limit of the earth,
The Scythian track, the desert without man.

2 ... this rocky height unclomb by man,
Where never human voice nor face shall find
Out thee who lov'st them !

8 Doomed to this drear hill, and no neighboring
Of any life.

* Transfixed with the fang

Of a fetter, I hang

On the high-jutting rocks of this fissure, and keep
An uncoveted watch o'er the world and the deep.

128 PROMETHEUS UNBOUND.

L. 157- v^v ^ aWepiov KiwyfJ.' 6 roXa?

L. 113. inraidpios Seoyioio-i Trao-o-aXevros a»v.2
L. 269. . . . Trpos Trerpais 7rcSap<r«xs.3

See also lines four and five.

L. 1 5 . ... <f>dpayyi Trpos 8va-^eifj.epw

L. 562. ... XttXlVOlS fV TTfTplVOLCTlV

^«/
L. 22. ...

Compare Shelley I. 383-5 : —

. . . whether the Sun

Split my parched skin, or in the moony night
The crystal-winged snow cling round my hair.

Shelley's " crystal-winged " snow finds exact parallel in
s' " XcvKOTrrepo) vi<£a8t " (993).

1 But now the winds sing through and shake
The hurtling chains wherein I hang, —
And I, in my naked sorrows, make
Much mirth for my enemy.

3 Hung here in fetters, 'neath the blanching sky !

3 ... against such skiey rocks.

4 ... up this storm-rent chasm.

6 And who is he that writhes, I see,
In the rock-hung chain?

6 ... thy beauty's flower,
Scorched in the sun's clear heat, shall fade away.

PROMETHEUS UNBOUND. 129

It is, however, noticeable, that in Shelley we find constant
references to the snow, — avalanches, icy peaks glittering in
the sunlight, etc., and that such references are with one or
two exceptions unknown in ^Eschylus. The difference is
probably due to the different character of the scenery in
Switzerland arid in Greece. It may be suggested in passing
that if the student wishes to feel the absence of color in
Greek poetry, he cannot do better than to turn from the
Prometheus of ^Eschylus to the Prometheus of Shelley.

The active elements in the setting are often the same, —
the earthquake, the vulture, the wind and whirlwind (Shelley,
1.34-44; ^Eschylus, 1016-1025, 1085-1089). Sometimes
the English here seems like a mere transcription of the
Greek ; Shelley would hardly have called the vulture
"winged hound," had not ^Eschylus used the expression,
TTV^VOS Kv<av. There are one or two other descriptive pas-
sages in the poem in which the Greek is very closely fol-
lowed. Compare ^Eschylus,

L. 23. . . . dfr/xevo) 8« (roi

rj Trot/aXet/iGJV vv£ air
Trd\vr)V 6' f<£av 17X105

with Shelley,

Act I., L. 44. And yet to me welcome is day and night

Whether one breaks the hoar frost of the morn,
Or starry, dim, and slow, the other climbs
The leaden-coloured east;

1 Night shall come up with garniture of stars
To comfort thee with shadow, and the sun
Disperse with retrickt beams the morning-frosts.

130 PROMETHEUS UNBOUND.

also ^Eschylus,

L. IO43. 7T/30S TdVr' €7T* e/XOl pLTTTfCrOw }J.(.V

8'

Ppovrrj (r<f>a.K£\<t> T d

X#dva 8' ex Trufyievwv avrais pt£ais

KpaScuvoi,

8e TTOVTOU rpa^ei poQita
eiev TWV T' oupaviW
acrr/owv SioSovS; . . .l %
with Shelley,
ActI.,L. 165. ... the sea

Was lifted by strange tempest, and new fire
From earthquake-rifted mountains of bright snow
Shook its portentous hair beneath Heaven's frown;
Lightning and Inundation vexed the plains.

In spite of these close parallelisms, the difference in the
treatment of the scene is very marked in the two dramas.
The modern attitude towards nature is evident in Shelley,
both in the greater fulness and detail of treatment and in
the greater spirituality of conception. The austere and
bleak simplicity of ^schylus is as effective in its way as the
brilliant word-painting of Shelley; yet the modern poet

l Let the locks of the lightning, all bristling and whitening,

Flash, coiling me round !
While the aether goes surging 'neath thunder and scourging

Of wild winds unbound !
Let the blast of the firmament whirl from its place

The earth rooted below,
And the brine of the ocean in rapid emotion,

Be it driven in the face
Of the stars up in heaven, as they walk to and fro!

PROMETHEUS UNBOUND. 131

gives us some details which we could ill afford to miss, as
v/here the plain iron chains of the Greek are transformed
into vast and glittering glaciers, which bind the Titan to the
rock. But it is noticeable that although the physical setting
is elaborated by Shelley, it is on the whole less emphasized
than in yEschylus. Shelley passes the different elements of
the physical torture in rapid summary in the first monologue,
and then escapes, for the remainder of the act, into the
region of purely spiritual pain. We feel indeed that through
every line spoken by the Titan of ^Eschylus there breathes
the pain of rebellion, the primary and simple passion of
angry pride ; but no passage is found remotely suggestive of
such complex and exalted sources of suffering as are opened
to Prometheus by Shelley's Furies ; and hardly any causes
of inward pain are directly stated, though the "scorn" and
"despair" of Shelley are faintly suggested in such passages of
yEschylus as 98-114, 544-551, 152-159. The climax of
agony in the Greek is the outburst of the rage of the elements
at the very end of the drama. The Greek drama, as com-
pared with the English, is certainly external.

Turning away from the general consideration of the scene
to the closer search for parallel passages in the dramatic
development, we find at once that the opening invocation of
Shelley is almost a direct translation from the Greek. Com-
pare Shelley, I. 25-29,

" I ask the Earth, have not the Mountains felt?
I ask yon Heaven, the all-beholding Sun,
Has it not seen? The Sea, in storm or calm, .„,,

Heaven's ever-changing shadow, spread below,
Have its deaf waves not heard my agony? ^^

Ah me, alas, pain, pain ever, for ever."

132 PROMETHEUS UNBOUND.

with ^Eschylus,

L. 88. <3 Sios aldrjp Kal Ta^virrfpoi Trvoa.1

TTOTO.fJi£)V T£ TTrjyal, TTOVTLWV TC KV/JiaTtDV

avypiO(J.ov yeAaayxa, Tra/i^ro/j TC yi},

Kttl TOV TTaVOTTTfjV KVK\OV T^XtOV KoA.U> *

i8f.crOf. fi* ota Trpos 6f£)v Tracr^w

*****
<^>ei; (j>fv, TO Trapbv TO T CT

This is the " large invocation " which, as Lanier says,
" seems still to assault our physical ears, across the twenty
odd centuries."

No other broad parallel occurs till we reach the Curse
uttered by the Phantasm of Jupiter. There is no one pas-
sage in ^Eschylus corresponding to this Curse, nor is there
the same stern assertion that evil is of necessity self-doomed ;
but, in several great passages, we have the spirit of parts of
the Curse perfectly reproduced. With the first stanza, and
part of the second, compare lines 989-996.

KUTfi ov§€ fj.ifj^avr)(J.' , OTCO
i /AC Zeus yeytonjcrat raSe,2

1 O holy ^Ether, and swift winged Winds,
And River-wells, and laughter innumerous
Of yon sea-waves ! Earth, mother of us all,
And all-viewing cyclic Sun, I cry on you ! —
Behold me a god, what I endure from gods !

****#*
Woe, woe ! to-day's woe and the coming morrow's,
I cover with one groan.

2 No torture from his hand,
Nor any machination in the world

PROMETHEUS UNBOUND. 133

irplv av -xaXavBrj Seoywi. Av/uavri/pta.
Trpos ravra pMrr«r0ft> /u,ev ai0aAovoxr
Cpa) Se n<£a8i Kai ftpovnjfuun
KUKoYa) TTaVra Kai Tapaoxrerw '
yva.fJi.il/ei yap ovSev roivSe /u,' wore Kai
Trpos ou xpcciv viv CKTreereiv rvpavvi'Sos.

This imprecation finds sublime fulfilment in the great
closing passage, 1080-1093.

/cat /oir/v Ipya) KOVK Irt fj.v@<p

ta 8' i7xa> Trapa/iuKaTat
, e\i»ces 8' CKAa

crKipra 8' dve/Atuv Trvf.vfJua.Ta

C(9 aAAi/Xa

crracriv dvrwrvow aTroSei/cvv/xcva

Shall force mine utterance, ere he loose, himself,
These cankerous fetters from me ! For the rest,
Let him now hurl his blanching lightnings down,
And with his white-winged snows, and mutterings deep
Of subterranean thunders, mix all things,
Confound them in disorder ! None of this
Shall bend my sturdy will, and make me speak
The name of his dethroner who shall come.

1 Ay ! in act, now — in word, now, no more !

Earth is rocking in space 1

And the thunders crash up with a roar upon roar,
And the eddying lightnings flash fire in my face, i5

And the whirlwinds are whirling the dust round and round,
And the blasts of the winds universal, leap free
And blow each upon each, with a passion of sound,

134 PROMETHEUS UNBOUND.

£uvT£TapaKTcu 8' alOrfp TTOVTO).
TotaS' CTT' ffjioi pnrt) SioOcv

to fir)rpo<i C/AT^S cre/3as, w
aWrjp KOLVOV </>aos «A.i'cr<ra>v,
eo-opas ju.' ws eKSt/ca

The " manifest dread," — rc^ovo-a <^>o/3ov, — like the " frenzy-
ing fear" in Shelley, is a note seldom struck by the brave
Titan.

The last stanza of the Curse has a fine parallel in lines
915-919 of ^Eschylus, describing the Fall of Jupiter.

Act I., L. 296-301.

An awful image of calm power,

Though now thou sittest, let the hour

Come, when thou must appear to be

That which thou art, internally,
And after many a false and fruitless crime,
Scorn track thy lagging fall thro' boundless space and time.

L. 915. • • • Tpos Tavra vvv

OapfrCiv Ka6r)cr9u> TOIS TreSapcri'ois KTVTTOIS

7TIOTOS, TLV(L<T(T(aV X6/30"' TTVpTTVOOV

And aether goes mingling in storm with the sea !
Such a curse on my head, with a manifest dread,
From the hand of your Zeus has been hurtled along !
O my mother's fair glory ! O, .(Ether, enringing
All eyes, with the sweet common light of thy bringing,

Dost thou see how I suffer this wrong?

1 Now, therefore, let him sit
And brave the imminent doom, and fix his faith
On his supernal noises, hurtling on
With restless hand, the bolt that breathes out fire.

PROMETHEUS UNBOUND. 135

ovSev yap aura) raw' C7rapK€o-« TO fir} ov
Treo-etv aTt/xws Trrw/xar' ov/c dvao-^CTa.

The closest parallelism in situation in the dramas is found
in the colloquy which each contains between Hermes and
Prometheus. In each, Hermes is sent from Zeus to extort
the Secret known to the Titan, or to inflict fresh tortures ; in
each, he is treated with scorn and his offers ignominiously
thrown back. The form of this discussion more nearly
approaches the form of the Greek drama than does anything
else in Shelley, the two speakers answering each the other
in brief sententious phrases. This sharp repartee is a
favorite form in Greek drama : it is quite out of Shelley's
usual line, yet he here uses it with great force and effect.
One or two passages in the dialogue are similar rather in
thought than in form : —

Act I., L. 429. Pity the self-despising slaves of Heaven,

Not me, within whose mind sits peace serene,
As light in the sun, throned : . . .

L. 966. rfjs ays Xarpetas TJJV ffJ.r)v 8wnrpa£iav,
(ra<f>u><; ciria'Tacr ', OVK av dAAa^at/i' lyia.
Kptlcraov yap oi/xai ri^Se AaTpeueiv Trerpa
•rj Trarpl <ftvvai Zrjvl TTICTTOV ayyeXov.1

Yet the spirit of the two scenes is on the whole widely
different. The Mercury of Shelley is well-disposed towards

For these things shall not help him, none of them,
Nor hinder his perdition when he falls
To shame, and lower than patience.

1 I would not barter — learn thou soothly that ! —
My suffering for thy service. I maintain
It is a nobler thing to serve these rocks
Than live a faithful slave to father Zeus.

136 PROMETHEUS UNBOUND.

Prometheus, and regretful and courteous in address; the
Hermes of ^Eschylus is a flippant and cruel young God.
The part played by Shelley's Mercury is much more nearly
approached by Oceanus in the Greek drama who tempts the
Titan by seeming friendliness, while yet he is too weak cour-
ageously to take his part. Hephaestus, again, mourns, like
Mercury, that it falls to his share to inflict suffering on Pro-
metheus. Compare Shelley,

Act I., L. 352. . . . Awful Sufferer,

To thee unwilling, most unwillingly
I come, by the great Father's will driven down,
To execute a doom of new revenge.
Alas ! I pity thee, and hate myself
That I can do no more,
with ^Eschylus,

L. 14. eyw 8' aroX/Aos elfju crvyyevf) Oeov

S^crai /?ia (fxipayyt Trpos Svcr^et/Ae/aw.

8" avayKr) roiivSe /xot roA/iav crxeOf.lv

yap Trarpos Xoyous /3apv.
TTJ<; 6pOo(3ov\ov ®€//,i8
a/covra cr aKwv 8i)o-Avrots

and with a later exclamation of Hephaestus as he still hesi-
tates before his cruel task,
L. 45. w TroAAa [U(rr]&ei<Ta.

1 1 lack your daring, up this storm-rent chasm
To fix with violent hands a kindred god,
Howbeit necessity compels me so
That I must dare it, — and our Zeus commands
With a most inevitable word. Ho, thou !
High-thoughted son of Themis who is sage,
Thee loth, I loth must rivet fast in chains.

PROMETHEUS UNBOUND. 137

As he completes that task and gazes upon the Sufferer's
form, Hephaestus cries to Kratos : —

L. 69. opas Oeapa. Svcrdearov

It is with like horror and pity that Mercury describes his
haunting memory of that vison.

L. 357. ... aye from thy sight

Returning, for a season, Heaven seems Hell,
So thy worn form pursues me night and day,
Smiling reproach.

The stern lines of dialogue (I. 411-416), which declare
that the " years to come of pain " are limited only by " the
period of Jove's power," buH; that this end of tyranny " must
come," suggest passages of similar form and content IP
yEschylus, 755-770, 507-520. Thus : —

HPOMHeETS.

L- 755* V^V ^ OvBfV €<TTl TCpfJM fJiOL

} Trplv av Zeus tKireay

yap TTOT' ccrriv CKTretreiv apx?)? Aia / 2

1 Thou dost behold a spectacle that turns
The sight o' the eyes to pity.

2 PROMETHEUS.
. . . but I before me see
In all my far prevision, not a bound
To all I suffer, ere that Zeus shall fall
From being a king.

10.

And can it ever be
That Zeus shall fall from empire?

138 PROMETHEUS UNBOUND.

nPOMHGETS.
tos TOU/VV OVTWV ToivSe croi fJuaOtiv Trapa.

While already, in solemn words which " half reveal and half
conceal" the mysterious decree of Fate, Prometheus has
made known to the Chorus that even Zeus shall bend to

Necessity.

XOPOS.

L. 515. TIS ow avayxiys eVriv oiaKO<rrpo<£os /

nPOMH9ETS.
Tpi/iop<£oi, /AVT^oves T'

XOPOS.
TOVTWV apa Zeus ecmv a<r^ev€crTepos.

HPOMHeETS.
OVKOW av €K^>vyoi ye T^V

XOPOS.
TI yap TreirptoTai Zr/vi, TrA^y dec Kpareiv ; 1

PROMETHEUS.
Learn from me, therefore, that the event shall be.

i CHORUS.
Who holds the helm of that Necessity?

PROMETHEUS.
The threefold Fates, and the unforgetting Furies.

CHORUS.
Is Zeus less absolute than these are?

PROMETHEUS.

Yea,
And therefore cannot fly what is ordained.

CHORUS.

What is ordained for Zeus, except to be
A king for ever?

PROMETHEUS UNBOUND. 139

HPOMHeETS.
TOVT OUK IT' av irvdoio,

With the coming of the Furies, we enter another set of
associations. There is nothing like this in the Prometheus
Bound : but in two other plays of ^schylus — the Choe-
phorse and the Eumenides — we have a suggestive and hor-
rible picture of these " hounds of Hell." It is evident that
Shelley must have been thoroughly familiar with the Greek
conception of the Erinyes. His Furies, like those of yEschy-
lus, are sable-stoled daughters of Night ; they rise from Hell
in evil throngs, their locks are snaky, they track their victim
like hounds, they feel fierce joy in the pursuit. The picture,
in the Eumenides, of Apollo, young, grave, gracious, sternly
reproaching the hideous forms and protecting his suppliant
Orestes, suggests at once Shelley's Mercury, the fair god, as
he holds back the forms of darkness and forces them to
crouch in silence at his bidding. The transition from the
Chorus of Furies to the Chorus of healing spirits, at the end
of the first act of the Prometheus Unbound, is no more
marked than the transition in the Eumenides when the
Furies appear as protecting divinities of Athens, and their
hymns to Athens and to Freedom relieve the horror of
the drama. Yet the contrast between the workings of
the Greek imagination and the English could not be more
sharply marked than by comparing the Furies of yEschylus
with those of Shelley, — the "troop of hideous women," wing-
less, gross, physical, who lie in disgusting sleep in the temple

PROMETHEUS.

'Tis too early yet
For thee to learn it : ask no more.

140 PROMETHEUS UNBOUND.

of Apollo, with the shadowy forms of spiritual evil, who
sweep upward from the horizon,

Blackening the birth of day with countless wings,
And hollow underneath, like death.

^Eschylus leaves nothing to the imagination ; Shelley leaves
all but everything.

The only other part of the Prometheus Unbound where
Shelley has obviously and consciously followed ^Eschylus is
in the long passage of the second act where Asia describes
to Demogorgon the service which Prometheus has rendered
to man. Compare Shelley, II. iv. 32-99, with ^Eschylus,
196-254, 442-471, 476-506. This enumeration of bene-
fits bestowed comes more gracefully from the lips of Asia
than from those of the Titan himself ; but Shelley has fol-
lowed ^Eschylus very closely. Prometheus has given men
fire, has taught them to build, in ^schylus houses, in
Shelley cities, to sail the ocean in "winged chariots," and
to discover the mineral treasures of the earth. He has
trained them in medicine, in astronomy, in the knowledge
of science, letters, and art, though by ^Eschylus the last
gift is only hinted in the gift of Memory, the "sweet
Muse-mother." Shelley omits the ^Eschylean passage con-
cerning the reading of omens. The modern and ancient
poets unite in assigning to Prometheus the glory of awaken-
ing Hopes within the human breast ; but in ^schylus the
Hopes are blind, while in Shelley they

hide with thin and rainbow wings
The Shape of Death.

Finally, Shelley adds to hope, Love — a gift unmentioned

PROMETHEUS UNBOUND. 141

by the Greek. The two passages should be carefully com-
pared.

These are perhaps all the points worth mentioning in
which Shelley shows direct and conscious recollection of the
Prometheus Bound. But this enumeration by no means
exhausts the influence of the Greek drama upon the English.
For when one mighty imagination comes within the sphere of
another, countless unconscious influences pass from spirit to
spirit. The temper and style of the Prometheus Unbound are
^Eschylean. We realize at once how completely the genius
of ^Eschylus had dominated Shelley, if we compare the ex-
alted and severe grandeur of many parts of the drama with
the tremulous and sensitive style, most native to Shelley's
genius, found in such poems as the Lines in the Euganean
Hills. The Greek drama also affects the English in an
exquisite way, through what we may call pictorial suggestion.
A poet's imagination deals primarily, not with intellectual
abstractions, but with pictures, and it is evident that Shelley's
mind was filled and possessed by the mere images of Pro-
metheus Bound. There is no likeness in the place held by
lo and by Asia : yet surely the picture-elements in lo's story
helped to create the story of Asia. The vision of a Wander-
ing was in Shelley's mind, — of a woman, questioning a silent
figure, wise with foreknowledge of fate, then passing onward
on her way. lo, like Asia, is stirred and troubled. Aroused
by visions of the night, she fares forth on a wide journey.
As lo questions Prometheus, Asia questions Demogorgon.
In many other ways we seem to trace this same force of
suggestion at work, though we may not penetrate with" too
assured a step the secret workings of the poet's imagination.
Shelley had seen, through the eyes of ^Eschylus, a troop of

142 PROMETHEUS UNBOUND.

Sea-nymphs, winging their way upward from the void, and
dropping on the cliff beside the Titan (^Eschylus, 115-135)-
He gives us a Vision of Furies, winged shadows, sweeping
from the horizon toward the Titan's rock : and again, as
the storm disperses, he sees a fairer band. Delicate-
winged,

A troop of spirits gather
Like flocks of clouds in Spring's delightful weather.

Many minor suggestions are to be found — some of pictures,
some of thoughts, some of mere form and sound of words.
By the English refrain of sorrow, we may set a Greek
line : —

S., I. L. 23. Ah me ! alas, pain, pain ever, for ever !
A., L. 98, 99. <J>ev <f>£v, TO irapov TO T* ci

And the Greek might be called a paraphrase of the articu-
lated groan of the English. There is a chorus in vEschylus
(396-435) which wails with reiterated moaning, sounding
the changes in every possible way on the word ore'vo) ; and
something of the same echoing sorrow is heard through two
snatches of earth-chorus in Shelley, I. 107-111, 306-311,
where the word "misery," repeated over and over, gives
a like effect of lamentation.

" Peace is in the grave," cries Prometheus, when the Furies
have released him : —

I am a God, and cannot find it there.

lo passionately calls on Death ; and Prometheus with
calm majesty replies : —

PROMETHEUS UNBOUND. 143

L. 752. j] 8uo-7T£Tu>s av TOVS e/iovs aOXows

OTtt) tfaVtlV jU,€V IcTTlV Ol TTCTTpdifJievOV.

yap rjv av -n-^fiaToiv aTraXXayij.1

Compare also, in ^Eschylus, lines 933, 1053. The thought
of the nature and self-inflicted suffering of the tyrant is the
same.

To know nor love, nor friend, nor law, to be

Omnipotent but friendless, is to reign,

cries Asia : and Prometheus says of the Zeus of ^Eschylus : —

L. 224. €V€(TTL ydp 7TWS TOVTO Trj

vo&rj/JM, TOIS </>iAoio-i fj.r)
When Shelley tells us the Spirits of the Mind

Inhabit, as birds wing the wind,
Its world-surrounding aether,

we remember the musical phrase of ^Eschylus (281), aWepa
ayvov Tropov oiwvwv, " holy aether, path of birds."
Compare also the following passages : —

Shelley, I. 140-143, with /Eschylus, 311-314

I 377!

I IOO2-I

375-379. i 377. 37»

1002-1006
114-119, " " 228-238

1 Verily,

It would be hard for thee to hear my woe,
For whom it is appointed not to die.
Death frees from woe.

2 For kingship wears a cancer at the heart, —
Distrust in friendship.

144 PROMETHEUS UNBOUND.

Shelley, I. 5 3 1 with /Eschylus,

687-695

" 617,618 " «

740-746

" II. i. 29, 30 " "

144, H5

" iv. 15, 16 " "

397-401

« III. ii. 42'49) ,< „

21, 22 J

138-140

iv. 141 " "

r 671,672

(.682

" IV. 93-95 " "

r 442-45°
1 546-550

NOTES.

SHELLEY'S PREFACE.

See Mrs. Shelley's Note on the drama for an enlargement of the
statements concerning Shelley's aim and conception contained in the
Preface; and see a letter written by the poet to his friend Peacock,
March 23, 1819, for a wonderful description of the Baths of Caracalla,
mentioned in the text, where the drama was composed. Many of the
letters written to Peacock from Italy have touches of description clearly
showing whence the inspiration of the Prometheus Unbound was
derived.

ACT I.

11. 1-73. This first great soliloquy of Prometheus is full of Miltonic
echoes. In the union of austere and elevated simplicity with a certain
splendor of effect, the blank verse is singularly like that of Paradise
Lost.

1. g. Eyeless in hate. The clause modifies " thou " in the next line.

1. 30. Ah me ! a/a:, etc. The first notable example of an irregular
line, though other minor instances have already occurred. The stu-
dent should carefully trace all metrical irregularities, great and small,
in the poem, and should consider their artistic effect. Shelley's varia-
tions on the schematic line are one of the chief sources of his musical
power.

1. 31. The crawling glaciers. The detail of these lines strikingly
enhances the horror of the opening picture. The glaciers, catching
reflections of the moon in their icy points, are the chains which bind the
vast form of the Titan to the rock. A stupendous image is thus sug-

145

146 PROMETHEUS UNBOUND. [ACT I.

gested of the scale of the picture, and the duration of Prometheus'
torture.

1. 34. Heaven's -winged hound. The only reference in the drama
to the vulture of the ancient myth. Shelley discards much of the old
machinery of torture. He begins, it is true, with the material sublime
and the suggestion of physical agony; almost at once, however, he
passes to the more subtle torture of the spirit. See Lanier, Develop-
ment of the Novel, Chapter V, for an unsympathetic attack on the set-
ting of the drama.

1. 48. The wingless, crawling hours. Cf. II. i. 1 6.

1. 54. Thro1 the wide Heaven. Forman thinks, though with no au-
thority, that " the " should be omitted.

1. 74. Thrice three hundred. The controlled sadness of the solilo-
quy of Prometheus is relieved by the more impassioned horror of these
Voices of Nature, just as the even movement of the blank verse is
relieved by the swift, free movement of the lyrics.

l.ioS. Cried '' Misery !' then. " The convulsion of terror is obviously
natural ; but wherefore the cry of ' Misery ' when the curse smote the
fell tyrant of Earth and Heaven, and predicted his fall?" — JAMES
THOMSON.

1.124. Why scorns the spirit. There is alienation between the Earth
and Prometheus. The old earth-mother speaks to him with an " in-
organic voice," which can but convey dim suggestions of a shrouded
meaning. Once, blessed with the fellowship of Asia, the Anima Mundi,
the communion between man and nature has been complete : it is so
no longer. Man, tortured and unredeemed, seeks in vain to understand
the language of nature. Cf. a like alienation beautifully rendered in
Mrs. Browning's Drama of Exile, where the Earth-Spirits reproach
Adam and Eve that their sin has separated nature from man.

1. 137. And love. How cursed I him ? The subject of " love " is of
course " I " (1. 136); but the statement seems a little vague and weak.
Rossetti proposes an ingenious emendation : " And Jove — how cursed
I him?" Forman speaks of the "stagey abruptness" of this reading;
Mr. Swinburne also rejects it, but says that it gives us "a reasonable
reading in place of one barely explicable."

1. 195. For know, there are two worlds. An obscure passage. Per-
haps it is foolish to seek for an adequate explanation of this strange

ACT I.] PROMETHEUS UNBOUND. 147

underworld, and we may best ascribe the fancy to the lingering love of
magic which so bewitched Shelley's boyhood. The sphere of Memory,
of the Imagination, of Platonic archetypes, is vaguely suggested.

1. 222. My wings are folded. In these exquisite lyrics, the first
poetry of pure beauty in the drama, we meet for the first time the
sister-spirits, lone and Panthea, whose presence soothes the austere
agony of the Titan. lone is the forward-looking spirit of Hope;
Panthea is the spirit of insight into the universal divine, which, how-
ever Shelley would have shrunk from the word, we may best describe
as Faith.

1. 240. Why have the secret powers. There is a fine nemesis in thus
causing the Phantasm of Jupiter to repeat the curse. Evil is self-
condemned; it pronounces its own doom.

1. 292. Heap on thy soul. Cf. Milton, Paradise Lost, I. 211 : —

" The will

And high permission of all-ruling Heaven
Left him at large to his own dark designs,
That with reiterated crimes, he might
Heap on himself damnation."

This Curse is simply the statement of the inexorable law by which
cause works out to effect.

1. 303. It doth repent me. In " the superiority of the mind over its
own darker passions " implied in Prometheus' recantation of the Curse,
Mr. Rossetti sees " the beginning of the fall of Jupiter and the unbind-
ing of Prometheus." " Prometheus can expel from the very essence
of his being the passions of hatred and revenge ... he can discover
Jupiter to be an imposture, and can pity instead of hating him; and
then Jupiter will sink, an impotent and innocuous bubble, upon the
tide of eternity. Shelley exhibits to us the human mind at this stage."
We must remember that Jupiter derives all his power from Prometheus.
Rossetti regards him as the anthropomorphic God, created by the
mind of man, and tyrannizing over its creator; but surely the myth is
quite as much political as theological. See Introduction.

1. 306. Misery, Oh misery. From the order of natural law, with its
unfailing nemesis, Prometheus has escaped into the higher or"der of
forgiveness. The Earth, with merely natural understanding, feels that
he who forgives is vanquished.

148 PROMETHEUS UNBOUND. [ACT i.

1. 313. Fallen and vanquished. We have here the first instance
of the ethereal chorus-voices which sound through the poem and
enhance the vastness of the action by suggesting the mysterious sym-
pathy of all creation. " The world in which the action is supposed to
move rings with spirit- voices; and what these spirits sing is melody
more purged of mortal dross than any other poet's ear has caught,
while listening to his own heart's song, or to the rhythms of the
world." — SYMONDS.

1. 314. Fear not. Notice throughout the different functions of the
two attendant spirits. lone, the embodiment of Hope, is first to see.
She beholds, describes, and questions. Panthea, the brooding spirit of
Faith, interprets. Cf. I. 579-590; II. iv. 404-410; IV. 30-40, 185-190.

1. 340. The hope of torturing him. Note the horrible dramatic
appropriateness of the simile, on the lips of Fury. All the figures used
in connection with the Furies should be noted.

1. 382. I gave all He has. " This Jupiter, the ' Prince of this world,'
the embodiment of tyranny, false religion, evil custom, is, in his most
familiar form, ' the letter that killeth ' — authority, orthodoxy, the
petrified dogma, which hinders the play of free thought ... as Prome-
theus is ' the spirit that giveth life.' " — TODHUNTER.

1. 431. Not me, within whose mind sits peace serene. Cf. Comus,
372,373: —

" Virtue could see to do what virtue would
By her own radiant light, though sun and moon
Were in the flat sea sunk."

Also the Faerie Queene, I. ii. 12: —

" Virtue gives herself light, through darkness for to wade."

1. 442. Blackening the birth of day. The horrible formlessness of the
Furies has both an aesthetic and a symbolic value. Cf. lines 465-470.

1. 484. Thou think? st we will live thro1 thee. This passage sug-
gests the nearest approach to the consciousness of Sin to be found in
the drama.

1. 540. The pale stars of the morn. Here begins the central Agony
of Prometheus. The Furies tear asunder the veil that separates present
from future, and reveal to the Titan, hanging upon his cliff, visions of

ACT i.] PROMETHEUS UNBOUND. 149

the two central tragedies (as conceived by Shelley) of the world's his-
tory. The first Vision is of the Crucifixion of Christ; the second, of
the French Revolution. The sting of the torture is found in the sug-
gestion that these great events, however much of heroism and self-
sacrifice they imply, resulted in injury rather than benefit to humanity.
The Furies, spirits of negation, instead of seeing a soul of goodness in
things evil, see a soul of evil in all things good.

1. 542. Dost thou faint, mighty Titan ? The Furies tempt Pro-
metheus to despair by suggesting that the aspiration he has awakened
in man is a curse rather than a blessing because destined to remain
forever unfulfilled. This attitude towards aspiration is that of the
pessimist. It marks much of our modern poetry, from Arnold to
Swinburne, but finds a noble converse in the message of Browning.
Cf. with these lines Swinburne, in the Atalanta in Calydon : —

" Thou hast given man sleep, but smitten sleep with dreams,
Saying 'joy is not, but love of joy shall be."
Thou hast made sweet springs to all our pleasant streams,
In the end thou hast made them bitter with the sea."

See also William Blake's Human Abstract.

1. 584. Alas ! I looked forth twice. Faith and Hope veil their faces,
and Prometheus endures unaided.

1. 619. In each human heart. It is notable that this climax of the
torture is expressed in dull blank verse, and consists in a simple state-
ment of commonplace fact. Is there an artistic error here?

1. 673. From unremembered ages. As the Furies turn all good into
evil, so these gentle Spirits of the Human Mind bring consolation by
singing that all evil is the occasion for higher good. The first sings of
Courage even in defeat; the second of Self-sacrifice, impossible if
suffering were not. The third and fourth chant of Wisdom and Imagi-
nation, the two powers of hope.

1. 708. Which begins and ends in thee. Eg. " in the powers and
constitution of the human mind." — ROSSETTI.

1. 738. On a poefs lips I slept. This exquisite little lyric has .been
called the fullest expression of poetic idealism. It calls to mind at
once many passages from the poems of Emerson.

1. 753- Behold 'st thou not two shapes. The lyrics which follow

150 PROMETHEUS UNBOUND. [ACT 11.

are " dainty but obscure." It is clear at least, however, that these two
spirits bring the healing power of Sympathy. Like the Furies, they
fully recognize the evil in the world; unlike the Furies, they do not
gloat over it, but lament it. The consolation offered Prometheus has
no unreal element; it never transcends the limits of truth.

1. 805. The responses. Often so accented by Shelley. Cf. II. i. 171.

ACT II. SCENE I.

1.35. Pardon, great Sister ! " Panthea is the perpetual messenger
of love between Prometheus and his divine consort, as Faith is between
the genius of man and its ideal. . . . Shelley has here made English
blank verse the native language of elemental genii." — TODHUNTER.

1. 62. But in the other. This is the Dream of Fulfilment. The mys-
tical poetry suggests the time when Faith shall be lost in sight, as Pan-
thea feels her being absorbed in the life of Prometheus.

1. 68. At his feet I slept. When do these dreams come to Panthea?
If we attempt to observe consistent chronology we must say, during the
Temptation of Prometheus; and it is beautiful to think that even while
Humanity surfers most, Faith is visited by fair visions of its future tri-
umph. Yet Panthea does not seem asleep during this period, though
she hides her eyes. She looks forth twice at least. After all, the
drama takes place in that spiritual region where ideas of succession cam
not enter. " Its date is of course in an ideal aeon, beyond the range of
chronology, unimpeached by anachronism, so that, notwithstanding the
antiquity of the dramatis persona and fable, the catastrophe points to
a far apocalyptic future, and the allusions to the most recent discoveries
of science are just as much in place as those to prehistoric traditions."
— JAMES THOMSON.

1. 83. And like the vapours. The similes drawn from Nature through-
out this wonderful scene should be collected and carefully studied.
The close and minute accuracy of Shelley's observation will become no
less apparent than his sensitiveness to the poetry of nature.

1. 119. There is a change. Only in the eyes of Faith, can Love be-
hold the vision of Humanity triumphant.

1. 131. Follow ! follow ! From the point of the appearance of the

SCENES I., ii., in.] PROMETHEUS UNBOUND. 151 '

Dream of Progress to the end of the scene Nature becomes, as it were,
progressively spiritualized. In the first soliloquy of Asia, its marvellous
loveliness is still external if not sensuous; but in the latter part of the
scene, Shelley's Hegelian conception of the gradual evolution of
spiritual consciousness in the natural world finds free symbolic expres-
sion.

1. 141. As you speak. First nature, then faith, voice the same sum-
mons.

1. 166. Echoes we: listen! These Echoes are of course spiritual
nature-voices, undefined : not, as Todhunter strangely conjectures, the
voice of primeval Hope, or lone, lingering in the craggy caverns of
the world.

SCENE II.

These lyrics can be compared to nothing in the range of English
poetry except Keats's Ode to a Nightingale. They are not only, how-
ever, nature-poems : they have a symbolic meaning which can be
neglected when they are enjoyed away from their connection, but
which adds to their interest when the drama is taken as a whole. Love
and Faith are pursuing their journey through all human experience :
and first they pass through the sphere of the Senses, or external life
(Semichorus I.) ; then through that of the Emotions (Semichorus II.) ;
finally, through that of the Reason and the Will (Semichorus III.).

1.2og. The path thro1 -which. The interwoven rhyme-scheme should
be traced by the student, that one source of the linked sweetness of the
lyric may be understood.

1.258. And -wakes the destined. Shelley's fatalism, the doctrine under-
lying this lyric, rather injures the poetry, rendering it obscure and
abstruse. The " fatal mountain " is probably that to which Panthea
and Asia are advancing, and where we find them at the beginning of
the next scene.

1. 278. / have heard those. This passage is a perfect little fairy-tale
in itself. Indeed, the whole dialogue of the Fauns is like a pastoral
interlude.

SCENE III.

Is the dawn in which we here find ourselves that of the first or ,the
second day? According to Thomson, it is impossible to ascertain.

152 PROMETHEUS UNBOUND. [ACT n.

Perhaps the journey of Asia and Panthea has lasted through twenty-
four (dramatic) hours; perhaps it has taken place in a moment of
time. Thomson thinks that the scene in the Cave of Demogorgon, the
overthrow of Jupiter and the transfiguration of Asia, all occur in
the darkest hour of the night, just before the dawn. There are some
expressions which seem to bear out this theory; yet it is hard to think
of the descent into Demogorgon's Cave, and the colloquy between him
and Asia as occupying all day and the greater part of the night. See
note, II. iv. 557. There may be one sunrise, or two, or three. The first,
in the Indian vale; the second, here; the third, replaced by Asia's
transfiguration, Scene V. But the position taken by the present writer
is that, whatever obscure time-intimations may be found, Shelley's inten-
tion was to fix the mind on central points in the sequence of the one
great cosmic day. See Introduction.

1. 316. Fit throne for such a Power ! " Here Asia speaks rather as a
mortal maiden might than in her own character." — TODHUNTER.

1. 341. Hark ! the rushing snow ! With this superb avalanche, com-
pare another, equally fine, in Browning's Saul : —

" Have ye seen when Spring's arrowy summons goes straight to the aim,
And some mountain, the last to withstand her, that held (he alone,
While the vale laughed in freedom and flowers) on a broad bust of stone
A year's snow bound about for a breastplate, — leaves grasp of the sheet?
Fold on fold all at once it crowds thunderously down to his feet,
And there fronts you, stark, black, but alive yet, your mountain of old,
With his rents, the successive bequeathings of ages untold."

1. 348. Look how the gusty sea. Suspense and gradual suggestion are
admirably used in this passage to prepare us for a great event.

1. 359- To the deep, to the deep. We have left the phenomenal
world behind us, and are on the heights of pure mysticism, whence we
are to be carried downward to the abysses of absolute being " where
there is one pervading, one alone." This descent of Asia recalls Faust's
descent to the Mothers, in the second part of Faust.

1. 399. Such strength is in meekness. These lines make it clear that
Asia is not only a spectator, but an agent in the redemption of human-
ity. The power of Demogorgon can be set free only when Love has
attained to utter self-abnegation.

SCENE iv.] ' PROMETHEUS UNBOUND. 153

SCENE IV.

1. 405. / see a mighty darkness. The treatment of Demogorgon can-
not be called a great nor a consistent success; yet it is by a fine tour
de force that Shelley makes us feel, even as clearly as he does, the
presence of a spirit which is described entirely by negations.

1. 415. Who made that sense. These exquisite lines are deficient in
grammatical construction. Rossetti changes " when " to "at." Forman
suggests " hear " for " or."

1. 431. He reigns. The slight variations in Demogorgon's answers
to these questions should be carefully noted.

1- 435- There was the Heaven. This long passage, with its reminis-
cences of the traditional Golden Age, and its picture of a highly
elaborate civilization, seems somewhat inconsistent with the general
tenor of the myth; yet it corresponds to Shelley's idea of Jupiter, as
the petrifaction of the earlier customs and faith of primitive humanity
into rigid and tyrannous law.

1. 503- Who rains' down. It is doubtful whether this word should
be " reigns " or " rains " : the two readings give very different sense.
The reading here adopted is that of Mrs. Shelley and of Rossetti.
Does Asia ask the origin of Evil or the ultimate Power of the universe?

1.5I7- If the abysm. The punctuation here given is that of Ros-
setti's edition.

1. 523. But eternal Love. This line and a half is the quiet state-
ment in abstract ferms of the central theme elsewhere expressed
through glowing symbol. The message is the same as that of Tenny-
son, who begins his In Memoriam with the invocation, —

" Strong Son of God, Immortal Love."
It is the same as that of Browning, who exclaims : —

" Love, which on earth, amid all the shows of it
Has ever been known the sole good of life in it,
That love, ever growing here, spite of the strife in it
Shall arise, made perfect, from Death's repose of it."

Yet the thought of Shelley stops short of the thought of the Victorian
poets, in that to him Love remains simply a universally diffused and
abstract emotion, while to them it is embodied in a Personality.

154 PROMETHEUS UNBOUND. [ACT n.

1. 532. The rocks are cloven. This marvellous picture of color and
light in motion could, as all critics agree, have been adequately rendered
only by the pencil of William Blake. Mr. Walter Crane has an interesting
attempt to render the scene. He gives the impression of speed and of
forms born of the viewless wind, but misses the impression of beauty.

1. 557. Watch its path among the stars. These lines, and the pre-
ceding 1. 537, lend plausibility to the theory that we are in the depth of
night, and that many hours have elapsed since Asia and Panthea were
swept downward to the abode of Demogorgon. The student should
consider the problem in the light of passages like II. v. 587; III. ii. 85,
123. The passages in the present scene may be easily understood and
the imaginative power of the scene heightened, if we conceive Asia and
Panthea gazing upward to the sky through darkness so profound that
the stars are revealed even in the morning light. This phenomenon is
frequently seen in mines.

SCENE V.

1. 578. On the brink. A sense of breathless speed is imparted by
the break in this lyric and the swift change of scene, as well as by the
abrupt omission of the last line in the concluding stanza.

1. 587. The sun will rise not. A bit of Shelleyan mysticism, incon-
sistent with the general progress of the cosmic day (cf. II. i.), but
suggestive of the suspension of mere physical light in the presence of
the Light of Love.

1. 589. As the aerial hue. The figure recalls one,,curiously similar in
I. 465; yet as in that the beauty enhanced horror by contrast, so here
it enhances beauty by likeness — thus illustrating two great principles
of aesthetics.

1. 597. The Nereids tell. See various versions of the Birth of Aph-
rodite : in particular Chaucer's Knightes Tale, Tennyson's Princess, and
Swinburne's Hymn to Proserpine : —

" The statue of Venus, glorious for to see
Was naked, fletyng in the large sea;

A citole in hire right hond hadde sche,
And on hire heed, ful semely for to see
A rose garland fresh and wel smellyng,
Above hire heed her dowves flikeryng."

SCENE v.] PROMETHEUS UNBOUND. 155

..." lovelier in her mood
Than in her mould that other, when she came
From barren deeps to conquer all with love;
And down the streaming crystal dropt; and she
Far-fleeted by the purple island-sides,
Naked, a double light in air and wave,
To meet her Graces, where they decked her out
For worship without end."

" Not as thine, not as thine was our mother, a blossom of flowering seas —
Clothed round with the world's desire as with raiment, and fair as the foam,
And fleeter than kindled fire, and a Goddess, and mother of Rome —
For thine came pale, and a maiden, and sister to sorrow ; but ours
Her deep hair heavily laden with odour and colour of flowers,
White rose of the rose-white water, a silver splendour, a flame,
Bent down unto us that besought her, and earth grew sweet with her name.
For thine came weeping, a slave among slaves, and rejected; but she
Came flushed from the full-flushed wave, and imperial, her foot on the sea,
And the wonderful waters knew her, the winds and the viewless ways,
And the roses grew rosier, and bluer the sea-blue stream of the bays."

1. 629. In those looks. " What Shelley meant by the mazes of looks,
Mr. Garnett explains by reference to II. i. 114-117. A still better illus-
tration is to be found in Shelley's letter of April 6, 1819, to Peacock,
where he says of the Roman beauties, ' The only inferior part are the
eyes, which though good and gentle, want the mazy depth of colour
behind colour with which the intellectual women of England and Ger-
many entangle the heart in soul-inspiring labyrinths.' " — FORMAN.

1. 632. Thro1 the vest which. A reading which has no authority, but
which commends itself to the musical ear, makes the line run as
follows : —

" Thro' the veil that seems to hide them."

With this great lyric should be carefully compared Shelley's Hymn to
Intellectual Beauty. And again a poet utterly remote from Shelley in
form — Emerson — is in closest sympathy with his mystic idealism.

1.649. My soul is an enchanted boat. A fragment of 1817 is a study
for the first lines of this lyric. The lyric is hard to understand.. " It
has been read by many of us scores of times with scarcely a wish per-
haps to trace out its intricate meaning, but with a keen delight in its
ideal charm, its supersensuous meander." " The soul, transported into

156 PROMETHEUS UNBOUND. [ACT m.

idealism by melody, muses upon the indefinable possibilities of existence
prcenatal and prseterlethal — the world of spirit before birth and after
death." — ROSSETTI. The poem suggests the passage of the weary
nature back through age, maturity, youth, and childhood, till it enters
the eternal sphere.

This scene of the Apotheosis of Asia recalls to us the Marriage Feast
in the first book of the Faerie Queene, where Una, having laid aside
her mourning, comes forth in silver-white, and dazzles all men by

" The blazing brightness of her beauties' beame,
And glorious light of her sunshyny face."

— F. Q., I. xii. 23.

It recalls also those far greater scenes — greater than anything in
Spenser or Shelley — where Dante beholds in Paradise his Lady
Beatrice : —

" Now were my eyes fixed again upon the countenance of my Lady,
and my mind with them, and from every other interest it was with-
drawn; and she was not smiling, but, ' If I should smile,' she began to
me, ' thou wouldest become such as Semele was when she became
ashes; for my beauty, which along the stairs of the eternal palace is
kindled the more, as thou hast seen the higher it ascends, is so
resplendent that, if it were not tempered, at its effulgence thy mortal
power would be as a bough shattered by thunder.' " — Paradiso, XXI.
See also Purgatorio, XXX., XXXI. ; Paradiso, I., V., XIV., XVIIL,
XXL, XXIII., XXVI., XXVII., XXXI.

ACT III. SCENE I.

1. 36. Thetis, bright image. "Thetis, like Asia a child of Ocean, is
her false counterpart. . . . She is a type of the false ideal, the sham
love and reverence which tyrants exact from their slaves. . . . She is
glory — the tinsel happiness of the vain and selfish, which the vulgar
envy." — TODHUNTER.

1. 40. The Numidian seps. The seps is a species of serpent whose
bite entails swift mortification. The allusion is to the soldier Sabellus,
who, as is told in Lucan's Pharsalia, IX., died in horrible torment
from the effect of the bite.

SCENES i., ii.] PR OME THE US UNB 0 UND. 157

1. 61. Detested prodigy ! "It is in that sudden reversion of feeling,
that suppression of any middle term between the height of power and
the abyss of destitution, that the author's dramatic sense appears to me
to proclaim itself. . . . The final speech of Jupiter, in the reach of its
passion and the awful reserve of its transition, appears to me one of the
greatest things written by Shelley — one of the great things of all
time." — ROSSETTI.

1. 65. TJiat thou wouldst make mine enemy my judge. The same
dramatic effect is produced by Browning, in The Ring and the Book,
under utterly different dramatic conditions, when the villanous Guido,
who has murdered his young wife Pompilia, cries out, as the execu-
tioners come to lead him to justice : —

"Abate! Cardinal! Christ! Maria! God!
Pompilia — will you let them murder me?"

1. 72. Even as a vulture. Shelley is very fond of this image. Com-
pare Laon and Cythna, Canto I. Stanzas VI.-XIV. It is noteworthy
that the snake is to him always the symbol of the good power. Com-
pare with this picture of the Fall of Jupiter Mrs. Browning's picture of
the Fall of Lucifer in the Drama of Exile.

SCENE II.

The effect of this scene, as of II. ii. is that of an idyllic interlude.
Its calm beauty serves as relief after the grandiose horrors of Scene I.
Apollo and Ocean are the traditional classical figures, and have no rela-
tion with Shelley's peculiar and individual myth.

1. 87. The terrors of his eye. With this sunset-simile, compare a
passage in Browning's Saul, where a like illustration is used, with an
effect gentle instead of terrible. David speaks of the gloomy Saul,
whom his music is restoring to tenderness : —

" I looked up, and dared gaze at those eyes, nor was hurt any more
Than by slow pallid sunsets in Autumn, ye watch from the shore
At their sad level gaze o'er the ocean."

1. 94. An eagle so. With this noble description of an eagle caught
in the whirlwind, compare Lander's equally noble picture of the eagle,
serene image of a grand and solitary soul : — r

158 PROMETHEUS UNBOUND. [ACT in.

" Wakeful he sits, and lonely, and unmoved,
Beyond the arrows, views, or shouts of men;
As oftentimes an eagle, ere the sun
Throws o'er the varying earth his early ray,
Stands solitary, stands immovable
Upon some highest cliff, and rolls his eye,
Clear, constant, unobservant, unabashed,
In the cold light above the dews of morn."

— Count Julian, V. ii.

1. 109. Cf. Shelley, Lines on the Euganean Hills, 320-326.

SCENE III.

1.134. Most glorious. Hercules — imported from the old myth — has
the slightest possible share in the action. Shelley always recognized
reluctantly the part which brute force plays in human life.

1. 139. Asia, thou light of life. " She is the Idea of Beauty Incar-
nate, the shadow of the Light of Life which sustains the world and
enkindles it with love, the reality of Alastor's vision, the breathing
image of the ' awful loveliness ' apostrophied in the Hymn to Intel-
lectual Beauty, the reflex of the splendour of which Adonais was a
part. . . . The essential thought of Shelley's creed was that the uni-
verse is penetrated, vitalized, made real by a spirit, which he sometimes
called the spirit of Nature, but which is always conceived as more than
Life, as that which gives its actuality to Life, and therefore as Love
and Beauty. To adore this spirit, to clasp it with affection and to blend
with it, is, he thought, the true object of man. Therefore, the final
union of Prometheus with Asia is the consummation of human des-
tinies." — SYMONDS.

1. 143. There is a cave, etc. In this long description, as was pointed
out in the Intioduction, Shelley descends to a merely pastoral pretti-
ness and betrays something of the luscious sentimentality which charac-
terized his first boyish work. It is almost comprehensible that the
Shelley who wrote this passage could have written those nightmare-
compounds of melodrama and sentiment, Zastrozzi and St. Irvyne.

1. 157. Ourselves unchanged. No Victorian poet, writing when
science had revealed the secret of development, could have written
this line with complacency.

SCENE in.] PROMETHEUS UNBOUND. 159

1. 173. And hither come. Lines as melodious as the famous ones in
Tennyson's Princess : —

" The moan of doves in immemorial elms,
And murmuring of innumerable bees."

Himera and Enna are towns in Sicily; near the latter is the flowery
vale whence Persephone was carried off by Dis to the under world.

1. 184. Whence the forms. Literal interpretation ot this passage is
difficult, but it evidently implies Shelley's Platonic idealism. In his phi-
losophy, the only reality is in the mind, and thence proceed, not only
all the forms of art, but the whole external world. We remember, in
reading the passage, how profoundly he was impressed by the ancient
statues at Rome.

1. 195. Veil by veil. Man being entirely passive during the process.

1. 203. This is the mystic shell. " Sir Guyon de Shelley," says Hogg,
" one of the most famous of the Paladins, carried about with him three
conches. . . . When he made the third conch, the golden one, vocal,
the law of God was immediately exalted, and the law of the devil
annulled and abrogated wherever the potent sound reached. Was
Shelley thinking of this golden conch when he described, in his great
poem, that mystic shell from which is sounded the trumpet-blast of
universal freedom?" — H. S. SALT. Most interpretations of this shell
are painfully arbitrary; and perhaps we may as well enjoy the beauty of
the poetry, for once, without worrying out a meaning.

1. 218. Thy lips are on me. A few lines here show a fine exercise of
the mythic power. If Mother Earth could speak, such language would
she use.

1. 246. Death is the veil. Here is the limit at which Shelley gives
up the attempt to solve the final enigmas. He is very fond of this
expression. It occurs again in one of his few sonnets; and on one
occasion, when he was nearly drowned, these words were the first he
uttered on regaining consciousness.

1. 257. There is a cavern. Is this the Cave Prometheus has just
spoken of ? And is the Temple beside it identical with the one. men-
tioned in 1. 294? Seemingly not; but the confusion is hopeless. Yet
" the unessential self-contradictions and inadvertencies are not only
pardonable as instances of the brave neglect which Pope here and there

160 PROMETHEUS UNBOUND. [ACT in.

discovered in Homer, but have a certain wild charm of their own, as
characteristics proving that in Shelley the poet and the man were one.
We all know how conspicuous in his life was a sort of quasi-freedom
from the limitations of time and space." — THOMSON.

1. 292. Crystalline pool. Often so accented by Shelley. Cf. Ode
to the West Wind : —

" Lulled by the coil of his crystalline streams."

SCENE IV.

1. 314. // is the delicate spirit. This spirit has been likened to
Goethe's Euphorion, in the second part of Faust, although of course it
has a wider meaning than the poet-child of Faust and Helena. The old,
half inorganic Gaia, the crude material earth, is replaced, now that the
harmony of man and nature has been restored, by this dainty and more
rational spirit, who, childish at first, grows into swift maturity of intelli-
gence and love by the end of Act IV.

1. 327. As one bit by a dipsas. A kind of serpent whose bite involved
a deadly thirst.

1. 363. Amid the moonlight. Seemingly another anachronism. The
Spirit of the Earth wanders through night and dawn, and returns before
the Spirit of the Hour, who yet was to " outspeed the sun."

1. 418. Pasturing flowers. This very poor line would read more
intelligibly were we authorized to insert " on " after " pasturing."

1. 427. Amphisbenic snake. A snake with a head at each end, or
capable of moving either way.

1. 433. It was, as it is still. This most characteristic line, startling
one with sudden brightness in the midst of a dull passage, seems to
express the very secret of Shelley's nature.

1. 472. Thrones, altars, etc. This passage, to line 487, has been
endlessly discussed. It is doubtless very obscure. It is probably best
to take the word " imaged " in 1. 481 as a past tense, with Rossetti and
Forman, instead of a participle, with Swinburne. The general sense is
clear: that the monuments of our present civilization, secular and
sacred, will be to a regenerate humanity mere memorials of an outworn
past, as the monuments of ancient civilization are to us to-day.

1. 506. Passionless ; no. The punctuation here adopted is that of
Rossetti.

ACT iv.] PROMETHEUS UNBOUND. 161

ACT IV.

The Fourth Act was an afterthought, composed at Florence a few
months after the rest of the drama. The action proper was of course
concluded with the end of the Third Act : yet we have had a conscious-
ness throughout that not only the immediate personages but the entire
universe of living forces were involved in the issue; and the union of
Prometheus and Asia, as well as the general statements of the Third
Act, leave us unsatisfied. We demand some expression of rapture from
those chorus-voices which have lent so much charm to each stage of
the poem. The Fourth Act, that great symphony of rejoicing, where
all voices of nature and of the mind sing their triumph, is thus no
arbitrary addition, but an essential fulfilment of the artistic and spiritual
unity of the drama.

" It is difficult to speak highly enough of the fourth act so far as
lyrical fervor and lambent play of imagination are concerned, both of
them springing from ethical enthusiasm. It is the combination of these
which makes this act the most surprising structure of lyrical faculty,
sustained at an almost uniform pitch through a very considerable length
of verse, that I know of in any literature. One ought perhaps to except
certain passages, taken collectively, in Dante's Paradiso. These are
doubtless quite as intense and quite as beautiful, and are even more
moving, as being blended with a definite creed, and the heights and
depths of emotion, personal and historical, which throb along with
that. Shelley's theme has no such inner pulse of association; it
becomes therefore all the more arduous and crucial an attempt." —
WILLIAM ROSSETTI.

The last Act is " the most sublime hymn ever uttered to the glory of
the eternal harmony of nature, as apprehended by the human soul in
communion with her." — F. RABBE.

The Act falls into three great divisions, with transitions marked by
the comments of lone and Panthea, who still retain their r81e of inter-
preters. In the first third, the Hours, past and future, and the Spirits
of the Human Mind join in joyful choruses of thankful glee. .The
second part gives us a grand antiphon of rejoicing between the Spirit
of the Earth and of the Moon. Finally, Demogorgon, the Power no^
longer of Destruction but of Life, solemnly invokes dead and living

162 PROMETHEUS UNBOUND. [ACT iv.

spirits to listen to his words; and when in answering music they attest
their presence, and we feel the harmony of the redeemed creation
speaking through their words, he utters in cadence grave and serene
his final message, and the final message of Shelley.

1. i. The pale stars are gone ! The music of these first lyrics is
tripping, delicate, and light — almost too light, indeed, if we fail to
remember that it is a prelude to the graver harmony that follows.

1. 12. Spectres we. This faint strain of minor music leads ex-
quisitely into the glorious fulness of triumphant song. The literal
mind will find it difficult to understand how Time can be " borne to his
tomb in Eternity" while the Earth and Moon yet circle round the
Sun; but the poetry is none the less beautiful because the symbols are
mixed.

1. 54. With the thunder of gladness. " Mr. Rossetti has suggested
the substitution of " madness " for " gladness " here, to get a rhyme
instead of an echo. The proposed reading has all to recommend it
except authority and necessity." — FORMAN.

1. 60. Oh, below the deep. The broken cadences and repercussive
notes should be carefully noted through all the Act. They add much
to the wild freedom and charm of the melody.

1. 1 1 6. His Dadal wings. A favorite epithet with Shelley. Cf.
III. i. 26; IV. 416. These Spirits of the Human Mind are of course
the same who brought consolation to Prometheus in Act I. They " are
now at last free to soar through all the universe with the frank scepti-
cism of children. Compare Walt Whitman's lines : —

" ' O my brave soul ! O farther, farther sail !

O daring joy, but safe ! Are they not all the seas of God?
O farther, farther, farther sail."

The swallow-like flight of these spirits, which seem to pass and repass
before the reader's eyes, gleaming, vanishing, and then gleaming again,
is subtly suggested by the airy freaks and changes of their songs." -
TODHUNTER.

1. 163. Ceaseless, and rapid. The brief and irregular song-flights
which we have had so far now merge into an anapaestic verse-move-
ment, even and smooth from the very intensity of its swiftness.

1. 181. As the bare green hill. One of the wonderfully lovely nature-

ACT iv.] PROMETHEUS UNBOUND. 163

vignettes, perfect in a few lines, which abound in the Fourth Act.
The sweet little touch of earthly, homely beauty affords rest and relief
after the spirit-music to which our ears have become attuned.

1. 186. ' 'I 'is the deep music. This speech, with the following speech
of lone, may be understood to describe the melody of the drama.
Study the difference in tone- color in the two speeches.

1. 194. But see where. Through this description, we are in full mys-
ticism. Perhaps the grand duet to follow would be more effective if
introduced by less elaborate machinery.

1. 208. By ebbing night. Mr. Thomson points out that the epithet
is incorrectly used, and compares the correct use in III. ii. 1 1 1 . Cf .
the Triumph of Life, 79-84.

1. 219. White Its countenance. The intense shining of these lines
is wonderful.

1. 221. Rossetti proposes to amend : " Its feathers are as plumes of
sunny frost," thus making the line metrically correct. Perhaps it is
fantastic to feel a certain charm in the hovering movement of the line
as it stands.

1. 236. And from the other. This mythical vision of the Earth, with
the Spirit sleeping at its heart, is hard to understand, but marvellous
in suggestion.

1. 242. Purple and azure. This text conforms to Shelley's original
edition, and to Mr. Swinburne's preference, in omitting the " and " in-
serted by Rossetti and Forman between " white " and " green."

1. 245. Such as ghosts dream. A fine instance of the tenuity of Shel-
ley's imagination.

1. 281. Valueless. Meaning, of course, by a usage common in Shel-
ley, " beyond all value."

1. 282. Crystalline. See note, III. iii. 292.

I. 287. The beams flash on. Shelley's curious cosmology, in the
remainder of this speech, would hardly commend itself to a modern
geologist. According to him, the remains of ancient civilizations are
seemingly buried in the deepest strata of the earth, while above them
lie the fossils of antediluvian monsters, with behemoth and the Ragged
alligator on top. But let us not be too literal.

II. 319-502. The duet between Earth and Moon. Who are th,S
speakers? Mr. Forman considers them to be the Spirit of the Earth

164 PROMETHEUS UNBOUND. [ACT iv.

and the Spirit of the Moon. It is obvious that the old Gaia, the Earth-
Mother of Act I., is not speaking here; but neither do these speeches,
with their masculine tone and virile music, seem to come from the child-
spirit of the Earth whom Panthea has just described so tenderly (261-
268). May it not be that we have here a third conception, approaching
to the conception held by modern science, exalted by the imagination ?
There is a realism about the words of the Earth which we do not find
earlier. Mr. Rossetti says : " On the whole we must, I think, assume
that Earth and Moon in their large general character as members of
the solar system are the essential speakers; but represented on the spot
visibly and emotionally by the Spirit of the Earth, a boy, and the Spirit
of the Moon, an infant girl, who are touched into a sort of choral con-
sonance with these more potent entities." James Thomson, with better
insight says : " The chanting Earth of this Fourth Act is in truth
neither the mythological Mother nor the simple child-spirit of the pre-
ceding Acts, but, as was imperative for the full development of the
poet's thought, our own natural Earth, the living, enduring root of
these and of all other conceptions, mythologic, imaginative, rational;
the animate World-sphere instinct with spirit, personified as masculine
in relation with the feminine Moon, as it would be no less rightly per-
sonified as feminine in relation with the masculine Sun : the inspired
singer, soaring impetuously into a far ideal future, casting off from him
all in his first conceptions that could limit or impede his flight."

1. 319. The joy, the triumph. The Love which is the theme of the
drama is here extended from Man to the Universe. The Earth is mas-
culine, the Moon feminine. The Earth expresses a passionate and
tumultuous triumph; the Moon a serene yet absorbing joy. The lyrics
of the two correspond closely in form, differ widely in effect. The
rhyme- scheme is the same, a a b a a b, except that the Moon gains a
tenderer, more lingering cadence by a final line, a aba abb. The
measure of the Earth-songs is iambic pentameter (bis), iambic hexam-
eter : that of the Moon-songs just one foot shorter, e.g. iambic tetram-
eter (bis), iambic pentameter, ending with iambic dimeter. The
music of the earth is "a deep and rolling harmony"; that of the
moon, under-notes, " clear, silver, icy, keen-awakening tones," -
echo-melody in a lighter key.

The punctuation at the close of this stanza and the next is Rossetti's.

ACT iv.] PROMETHEUS UNBOUND. 165

1. 367. Winged douds. The poetry of science.
1. 370. It interpenetrates. In the preceding stanza, the Earth has
expressed its exultation in the fall of evil; it now proceeds to chant
the glory of the new freedom wrought by love. " Love " is the subject
of the sentence to line 380, and again of lines 385-387. The punctua-
tion is seemingly obscure.

1. 394. Man, oh, not men ! A curious expression, in which Shelley
seems to anticipate the socialistic conception of humanity as a complete
organism rather than an aggregate of separate units.

1. 400. Man, one harmonious. The next four stanzas are a glorious
paean of humanity. The first two stanzas deal with man's nature; the
last two with his power over art, language, the natural world. The
concluding stanza reads like a prophecy, which the scientific discoveries
during the fifty years following Shelley's life went far to fulfil, but which
is not yet accomplished perfectly.

1. 432. Half unfrozen. In Shelley's own edition, " half-infrozen."
Mr. Rossetti adopts Shelley's reading.

1. 457. Thou art speeding. Notice the trochees. This is the most
wonderful instance of that use of scientific fact for imaginative purposes
which makes the treatment of nature in this Act of the Prometheus
Unbound startling in its modernness. Few instances of this peculiar
mode of handling occur in the earlier Acts; it almost seems as if a
prophetic power had descended on Shelley as he wrote of the future
harmony between Man and Nature.

1. 493. And the weak day -weeps. Mr. Rossetti assigns these two
lines to the Moon; there is, however, no authority for the reading, and
we may better consider the passage as a last and most exquisite in-
stance of the free and broken music which we have found throughout
the drama.

Concerning this duo between Earth and Moon, M. Rabbe, Shelley's
able French biographer, writes : " Michelet in La Mer has written
like a poet of the symphony of worlds of which science is endeavoring
to read the score; of the mathematical relation of the stars between
themselves, which are the harmonic intervals of the celestial music.
'The Earth,' he says, 'in her tides, greater and less, speaks to her.
sisters the planets. Do they reply? We must believe they do. From
their fluid elements they too must rise up, conscious of the impulse of

166 PROMETHEUS UNBOUND. [ACT iv.]

the Earth. Mutual attraction, the bent of each planet to come forth
from its egoism, must be the cause of sublime dialogues in the heavens.
Unfortunately, the ear of man hears but the least part of these.'

" Shelley heard one of these dialogues, and has marvellously rendered
it for us in the Fourth Act of the Prometheus Unbound."

1. 519. Thou, Earth. The grave and quiet music from this point to
the end reminds us of the organ-like harmony of the Ode to the
West Wind.

1- 537- Or as they. There is pathos in this expression of Shelley's
vague and pantheistic faith. Concerning the future of man on earth,
his conviction is ardently clear; concerning that beyond the grave, he
can but suggest a dismal and meaningless alternative.

1. 554. This is the day. The concluding lyric of the drama sur-
prises us by its soberness. After the wild rapture of the central lyrics,
this music sounds subdued and sad; after the vision of redeemed
humanity, these words take us again, it seems, into the world of con-
flict and pain. It is better so. Perhaps the very last stanza, with its
suggestion of meekness, constancy, and hope triumphant even in
despair, touches the highest spiritual level in the whole great drama.

EXTRACTS FROM CRITICISMS ON PRO-
METHEUS UNBOUND.

[The following extracts aim to give the student some idea of the evolution of
criticism on the drama. There is an instructive contrast between the tone of th4
earlier and the later criticism.]

" To our apprehensions, Prometheus is little else but absolute raving;
and were we not assured to the contrary, we should take it for granted
that the author was lunatic — as his principles are ludicrously wicked,
and his poetry a melange of nonsense, cockneyism, poverty, and ped-
antry."— Literary Gazette, September 9, 1820.

" Whatever may be the difference of men's opinions concerning the
measure of Mr. Shelley's poetical power, there is one point in regard to
which all must be agreed, and that is his audacity. ... It would be
highly absurd to deny that this gentleman has manifested very ex-
traordinary powers of language and imagination in his treatment of the
allegory, however grossly and miserably he may have tried to pervert
its purpose and meaning. But of this more anon. In the mean time,
what can be more deserving of reprobation than the course which he is
allowing his intellect to take, and that too at a time when he ought to
be laying the foundations of a lasting and honourable name ? There is
no occasion for going about the bush to hint what the poet himself has
so unblushingly and sinfully blazoned forth in every part of his produc-
tion. With him, it is quite evident that Jupiter, whose downfall has
been predicted by Prometheus, means nothing more than Religion in
general, that is, every human system of religious belief; and that, with
the fall of this, he considers it perfectly necessary (as indeed we also
believe, though with far different feelings) that every system of human
government also should give way and perish. ... In short, it is quite
impossible that there should exist a more pestiferous mixture of blas-

167

168 PROMETHEUS UNBOUND.

phemy, sedition, and sensuality, than is visible in the whole structure
and strain of this poem — which, nevertheless, and notwithstanding all
the detestation its principles excite, must and will be considered by all
that read it attentively, as abounding in poetical beauties of the highest
order — as presenting many specimens not easily to be surpassed, of
the moral sublime of eloquence — as overflowing with pathos, and
most magnificent in description. Where can be found a spectacle more
worthy of sorrow than such a man performing and glorying in the per-
formance of such things?" — Blackwood^s, September, 1820.

g " In Mr. Shelley's poetry, all is brilliance, vacuity, and confusion.
We are dazzled by the multitude of words which sound as if they de-
noted something very grand or splendid : fragments of images pass in
crowds before us; but when the procession has gone by, and the
tumult of it is over, not a trace of it remains upon the memory. The
mind, fatigued and perplexed, is mortified by the consciousness that its
labour has not been rewarded by the acquisition of a single distinct
conception; the ear, too, is dissatisfied; for the rhythm of the verse is
often harsh and unmusical; and both the ear and the understanding
are disgusted by new and uncouth words, and by the awkward and
intricate construction of the sentences. The predominating character-
istic of Mr. Shelley's poetry, however, is its frequent and total want of
meaning." — "Shelley : Prometheus Unbound" Quarterly Review,
October, 1821.

" In Prometheus Unbound Shelley's faith in the ultimate triumph of
good found its most complete and ideal expression. He no longer,
as in The Revolt of Islam blends truth with fiction; scene, stage, and
actors are in unison.. The harmony shows the intellectual accuracy
and sense of fitness which Shelley was developing. The lyrical drama
is by no means faultless, and unfortunately for its popularity, the faults
lie thickest at the outset. But if the reader perseveres, he will be
swept upward in a whirlwind of song from height to height, till he
reaches a dizzy summit of lyric inspiration where no foot but Shelley's
ever trod before. The grandeur of the conception, the vivid embodi-
ment in beautiful form of inspiring dreams, the majestic soliloquy of
Prometheus with which the play opens, the exquisite speech of Asia,
are forgotten in the music of the lyric outbursts, which send a sob of

PROMETHEUS UNBOUND. 169

hopeless anguish echoing down the slopes of Caucasus, or convey in
sparkling words the arrowy summons to delight of a fresh spring morn-
ing, or express with the most deft and unobtrusive harmony of words
the thrilling intensity of the passion of love. Yet the drama is finely
conceived and firmly compacted. It cannot be fairly condemned be-
cause it is wanting in solidity, since its very essence is incorporeal,
elemental, ideal. In imaginative realization and creative energy, Pro-
metheus Unbound is a masterly achievement." — " The Character of
Shelley," Quarterly Review, April, 1887.

" A genuine liking for Prometheus Unbound may be reckoned the
touch-stone of a man's capacity for understanding lyric poetry." —
J. A. Symonds.

" There is, I suppose, no poem comparable, in the fair sense of that
word, to Prometheus Unbound. The immense scale and boundless
scope of the conception; the marble majesty and extra-mundane pas-
sions of the personages; the sublimity of ethical aspiration; the
radiance of ideal and poetic beauty which saturates every phase of the
subject, and almost (as it were) wraps it from sight at tunes, and trans-
forms it out of sense into spirit; the rolling river of great sound and
lyrical rapture ; form a combination not to be matched elsewhere, and
scarcely to encounter competition. There is another source of great-
ness in this poem, neither to be foolishly lauded, nor (still less) under-
valued. It is this : that Prometheus Unbound, however remote the
foundation of its subject matter, and unactual its executive treatment,
does in reality express the most modern of conceptions — the utmost
reach of speculation of a mind which burst up all crusts of custom and
prescription like a volcano, and imaged forth a future wherein man
should be indeed the autocrat and renovated renovator of his planet.
This it is, I apprehend, which places Prometheus clearly, instead of
disputably, at the summit of all later poetry : the fact that it embodies,
in forms of truly ecstatic beauty, the dominant passion of the dominant
intellects of the age, and especially of one of the extremest and highest
among them all, the author himself. It is the ideal poem of perpetual
and triumphant progression — the Atlantis of Man Emancipated." —
"Memoir of Shelley," William M. Rossetti.

BIBLIOGRAPHY OF THE PROMETHEUS
UNBOUND.

WILLIAM M. ROSSETTI. Three Articles in Shelley Society Publica-
tions, Part I.

Shelley's Prometheus Unbound: A Study of its Meaning and

Personages.
Shelley's Prometheus Unbound Considered as a Poem.

JAMES THOMSON. Notes on Shelley's Prometheus Unbound. The
Athenaum, 1881.

JOHN TODHUNTER. A Study of Shelley. Chapters V., VI.

SIDNEY LANIER. The English Novel. Lecture V.

VIDA D. SCUDDER. The Life of the Spirit in the Modern English
Poets. Chapter III. Ideals of Redemption Mediaeval and Modern :
the Divine Comedy and the Prometheus Unbound.

Black-wood's. September, 1820.

The Quarterly. October, 1821.

The Literary Gazette. September, 1820.

Dublin University Magazine, 1877.

Gentleman's Magazine. February, 1848.

Gentleman's Magazine, 1874-

Monthly Review, 1821.

Southern Literary Messenger, 1842.

Month. Vol. 31. 1884.

Manchester Quarterly. Vol. I. 1882.

All Lives of Shelley and all critical estimates of his poetry treat at

more or less length of the Prometheus Unbound. The chief authorities

to be consulted are as follows : —

Among the modern biographers: Dowden, Rossetti, Symonds,

Sharp, Salt, Barnett Smith, Garnett, Rabbe.

Among critical essayists: Bagehot, Hutton, Matthew Arnold, Swin-
burne, Stopford Brooke, Shairp, Aubrey de Vere, Bourget.

The best editions of Shelley's works are those of H. Buxton Forman

(English) and J. H. Woodberry (American). ^

171

ADVERTISEMENTS.

ENGLISH LITERATURE.

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troduction, Notes, Essay on Metre, and Glossary. Based on the Globe text.
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THIS edition presents the greater plays in their literary aspect, and
not merely as material for the study of philology or grammar.
Verbal and textual criticism has been included only so far as may
serve to help the student in his appreciation of the poetry.

Questions of date and literary history have been fully dealt with in
the Introductions, but the larger space has been devoted to the inter-
pretative rather than to the matter-of-fact order of scholarship. ./Es-
thetic judgments are never final, but the editors have attempted to
suggest points of view from which the analysis of dramatic motive
and dramatic character may be profitably undertaken.

In the Notes likewise, though it is hoped that unfamiliar expres-
sions and allusions have been adequately explained, it has been
thought more important to consider the dramatic value of each scene,
and the part that it plays in relation to the whole.

Each volume has a Glossary, an Essay upon Metre, and an In-
dex. Appendices are added upon points of interest that could not be
treated in the Introduction or the Notes. The text is based on
that of the Globe edition. The following plays are ready : —

HAMLET. — Edited by Edmund K. Chambers, B.A.

MACBETH. — Edited by Edmund K. Chambers, B.A., Oxford.

JULIUS C/ESAR. — Edited by Arthur D. Innes, M.A., Oxford.

THE MERCHANT OF VENICE. — Edited by H. L. Withers, B.A., Oxford.

TWELFTH NIGHT. — Edited by Arthur D. Innes, M.A., Oxford.

As You LIKE IT. — Edited by J. C. Smith, M.A., Edinburgh.

A MIDSUMMER NIGHT'S DREAM. — Edited by Edmund K. Chambers, B.A.

CYMBELINE. — Edited by A. J. Wyatt, M.A., Cambridge.

THE TEMPEST. — Edited by F. S. Boas, M.A., Oxford.

KING JOHN. — Edited by G. C. Moore Smith, M.A., Cambridge.

RICHARD II. — Edited by C. H. Herford, L.H.D., Cambridge.

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CORIOLANUS. — Edited by Edmund K. Chambers, B.A., Oxford.
MUCH ADO ABOUT NOTHING. — Edited by J. C. Smith, M.A., Oxford.
KING LF.AK.— Edited by L>. Nichol Smith, M. A., Edinburgh.

86 ENGLISH.

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THIS work indicates some lines of Shakespearean thought which
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ductory chapter is followed by chapters on : The Shakespeare-Bacon
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Saxon Elements of Shakespeare's English. The larger portion of
the book is devoted to commentaries and critical chapters upon
Romeo and Juliet, King John, Much Ado about Nothing, Hamlet,
Macbeth, and Anthony and Cleopatra. These aim to present the
points of view demanded for a proper appreciation of Shakespeare's
general attitude toward things, and his resultant dramatic art, rather
than the textual study of the plays.

Introduction to Browning.

By HIRAM CORSON, LL.D., Professor of Rhetoric and English Literature in
Cornell University. Cloth. 348 pages. Introduction price, $1.00.

THIS volume affords aid and guidance to the study of Robert
Browning's poetry, which, being the most complexly subjective
of all English poetry, is, for that reason alone, the most difficult.
The exposition presented in the Introduction, of the constitution and
skillful management of the dramatic monologue and the Arguments
given to the several poems included in this volume, will, it is hoped,
reduce, if not altogether remove, the difficulties of this kind. In the
same section of the Introduction certain peculiarities of the poet's
diction are presented and illustrated.

The following is the Table of Contents : —

I. The Spiritual Ebb and Flow exhibited in English Poetry from Chaucer
to Tennyson and Browning. II. The Idea of Personality and of Art, as an
intermediate agency of Personality, as embodied in Browning's Poetry. (Read
before the Browning Society of London in 1882.) III. Browning's Obscurity.
IV. Browning's Verse. V. Arguments of the Poems. VI. Poems. (Under
this head are thirty-three representative poems, the Arguments of which are
given in the preceding section.)

ENGLISH.

Judith : an old English Epic Fragment.

Edited, with an autotype fac-simile, by ALBERT S. COOK, Professor of the
English Language and Literature, Yale University. Square I2mo. 170 pages.
Introduction price, j>i. Student's Edition. Paper, 30 cents.

THIS volume is made up of an introduction, discussing the date of
the manuscript and the sources of the poem ; an essay on the
poetical art displayed by the author : the elements of grammar and
prosody essential to an understanding of the text itself, with its
variants ; a translation on alternate pages ; a glossary ; lists of com-
pounds, verbal correspondences, repeated and peculiar phrases, etc.

translated into Modern Metres.

By JNO. LESSLIE HALL, Professor of English and History, College of William
and Mary. Square 8vo. 128 pages. Introduction price, 75 cents. Student's
Edition. Paper, 30 cents.

THE translation is based upon the Heyne-Socin text, rarely deviat-
ing from it. The translator has aimed at a close, but not slavish,
rendering, reproducing sentences, but not verses. Parallelisms,
frequent alliterations, archaic forms, and occasional ruggedness, will
please the scholar ; while the non-technical reader will have a toler-
ably regular cadence to take him quite smoothly through the poem.

The Tragedies of Sophocles.

A New Translation, -with an Appendix of Rhymed Choruses. By E. H.
PLUMPTRE, Dean of Wells. Cloth. 598 pages. Introduction price, $1.00.

Pall Mall Gazette : Dean Plump-
tre has not only surpassed previous
translators, but has produced a work of

singular merit, not less remarkable for its
felicity than its fidelity, a really readable
and enjoyable version of the old plays.

The Tragedies of sEschylos.

A New Translation, with a Biographical Essay and an Appendix of Rhymed
Choruses. By E. H. PLUMPTRE, Dean of Wells. Cloth. 446 pages. Intro-
duction price, $1.00. .

THESE two famous translations of ancient Greek Tragedies are
republished in this new and cheaper form at the request of
many teachers and lecturers on Ancient Drama and Literature.

ENGLISH. 91

The Literary Study of the Bible.

An account of the leading forms of Literature represented in the Sacred Writ-
ings. Intended for English Readers. By RICHARD G. MOULTON, Professor
of Literature in English in the University of Chicago ; author of " Shakespeare
as a Dramatic Artist." " The Ancient Classical Drama," etc. Revised and
largely rewritten. Cloth. 584 pages. Retail price, $2.00.

THIS work deals with the Bible as literature, without reference to
theological or distinctively religious matters on the one hand,
or on the other hand to the historical analysis which has come to be
known as " the higher criticism." With a view to the general
reader it endeavors to bring out the literary interest of Scripture, so
often obscured by reading in verse or short fragments. For the
professed student of literature it has the further purpose of discuss-
ing methodically such literary forms as epic, lyric, dramatic, etc., so
far as they appear in one of the world's great literatures. It assumes
that the English Bible is a supreme classic, the thorough study of
which must form a part of all liberal education.

The cordial reception given to this book by students of literature
and of the Scriptures has led the author to prepare a book for
general readers, which is described below.

CONTENTS: The Book of Job, and the Various Kinds of Literary Interest illus-
trated by it. I. First Principles of Biblical Literature. II. Lyric Poetry of the
Bible. III. Biblical History and Epic. IV. Biblical Literature of Rhetoric.
V. The Philosophy of the Bible, or Wisdom Literature. VI. Biblical Literature
of Prophecy. Appendixes.

<A Short Introduction to the Literature of

the Bible. By RICHARD G. MOULTON, author of " The Literary Study of
the Bible," " Shakespeare as a Dramatic Artist," etc., editor of " The Modern
Reader's Bible." Cloth. 382 pages. Retail price, $1.00.

THIS is not an abridgement of the larger book by the same
author, but is an independent work, dealing less with technical-
ities, and more with the matter of Holy Scripture, considered from its
literary side. The aim has been to make a serviceable book for the
general reader, whether more or less cultured ; also, with the aid of
an appendix, to afford a manual for pastors and teachers.

CONTENTS: Introduction. — The literary study of the Bible as distinct from
theology and criticism. Part I. Biblical History and Story: i. History and
Story; 2. The History of the People of Israel as Presented by Themselves; 3.
The History of the New Testament Church as Presented by Itself. Part II.
Biblical Poetry and Prose : 4. Poetry and Prose in the Bible ; 5. Old Testament
Wisdom ; 6. New Testament Wisdom ; 7. Lyric Poetry of the Bible ; 8. Prophecy
as a Form of Literature; 9. Old Testament Prophecy; 10. New Testament
Prophecy. Appendixes.

ENGLISH.

Dante : Divina Commedia and Canzoniere.

Translated, with notes, studies and estimates, by E. H. PLUMPTRE, Dean of
Wells. In five volumes. Vol. i — Hell. Vol. ii — Purgatory. Vol. iii — Para-
dise. Vol. iv — Minor Poems. Vol. v — Studies. Cloth. Small I2mo. Each
volume with frontispiece. Library Edition: Five volumes in a box. Uncut
edges. Extra gilt, #4.00. Student's Edition: 50 cents per volume. In the
student's edition the volumes will be sold separately.

THE charm and accuracy of Plump tre's translation of Dante are
well known. The translation of the Commedia is for the most
part based on Scartazzini's text (1874-82), with due attention to the
various readings that materially affect the sense.. In the Minor
Poems the order and text of Fraticelli's edition (1873) are followed.

With regard to the Terza Rima of the Commedia and the metrical
forms of the Canzoniere, the translator was deeply impressed with the
conviction that, in default of absolute identity of form, it is " the duty
and the wisdom of a translator to aim at the nearest possible analogue "
attainable, and to reproduce, as far as the nature of the English lan-
guage admits, the structure and recurrence of rhymes which give
sonnet and canzone their distinctive charm.

Milton 's Paradise Lost.

Books I and If, -with portions of Books III, IV, VI, VII and X. Edited, with
Introduction, suggestions for study and glossary, by ALBERT PERRY WALKER,
Master in the Bpston English High School. Cloth. Illustrated. 282 pages.
Introduction price, 45 cents.

IN this book the editor has made a radical departure from the usual
method of annotating texts for school use, by discarding formal
notes on individual words or expressions. The information usually
distributed through a heterogeneous mass of notes is here embodied
in an introduction treating in a systematic manner the popular, scien-
tific, religious, and mythological conceptions of the seventeenth
century, as they appear in Milton's poems, and other matters of
general information with which readers of literature are assumed to
be conversant.

Milton s Select Poems.

Edited by ALBERT PERRY WALKER. Contains the book described above and
Milton's Minor Poems, described on page 82, bound in one volume. Cloth.
411 pages. Introduction price, 50 cents.

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